Reviews

A watchable documentary on what has been whispered for a long time but barely revealed and acknowledged in public when it comes to the film industry: child abuse. In five episodes, "Quiet on Set: The Dark Side of Kids TV" highlights the villains and victims in the sordid and sleazy world of children's television.

Interviewing media figures, former cast members and crew of once popular TV networks and shows like "Nickelodeon", "The Amanda Show", "All That", and "iCarly", etc., the documentary probes into unsettling detail the ordeal child actors and their parents went through to stay in the limelight and keep the money rollin'. The viewer is witness to the dark and shady world of perversity (including those shown on live TV no less), pedophilia and verbal abuse directed at the staff and even the children themselves in those shows. Also focused on is the disturbing trend of registered child sex offenders still being able to find jobs in kids' shows and how the law has yet to fully stop it. It's telling how obnoxious the people involved in the industry are for allowing themselves and the children around them to be abused for so long and considering how most if not all of those interviewed in the film lost their jobs and look awful one can see it was birds of a feather their being in that business and how karma truly got back at them.

A revealing eye-opener on what goes on in the glittery illusion called Tinseltown, "Quiet on the Set: The Dark Side of Kids TV" should get you questioning on what society aspires and looks up to. While a little too long this is one of the most important documentaries and is a must see for every parent and aspiring child planning to enter an industry as alluring as paradise itself and as infernal as the very depths of hell.

One of the classics in film history, "To Kill a Mockingbird" is art depicting life in its varied realities striking profoundly and movingly on the essence of being human. Based on the novel of the same name by Harper Lee the tale of a lawyer defending a black man in the deep South has resonated through time with its stirring portrayal and lessons on justice, race, prejudice, childhood and family.

Gregory Peck won Best Actor for his portrayal of Atticus Finch and he cut one of the most memorable characters in film history. Tall, spectacled, bookishly handsome and unerringly paternal and humane his patrician countenance and warm stoicness is the moral focus and foundation of the film. The film includes some of the best child acting captured on the silver screen and the children evoke the innocence and wonder of youth amidst the harsh and ugly realities of life. The able direction compelled strong performances from the entire cast and the film shot in black and white immerses it in a vintage feel that are fitting and complementary. Some of the most memorable scenes in movie history abound: Scout Finch's innocence thwarting a lynch mob; Tom Robinson's gripping trial; and Boo Radley's emergence at the end where the emotional chain of events unfolded so touchingly there were no dry eyes with this reviewer during and after it.

There are slow parts throughout the movie mirroring the small town country life the film is set in that drag the flick. And in these times one can cynically view this it as one of the precursors to the pc-multicult agenda prevalent in Western cinema. Considering the controversial and divisive subject of the movie made so by the politics of the present this is a film that will inevitably have its supporters and haters.

A huge commercial success and winner of numerous rewards, "To Kill a Mockingbird" is one of the rare occurrences when art and commerce succeed. A personal fave and one of filmdom's enduring masterpieces this is a must see for film fans and lovers of art in general. Essential.

Based on a novel of the same title by Edith Maude Hull, "The Sheik" is a Romance-Drama set in the vast desert sands of the Middle East. With it's intense portrayal of race, class, sex and adventure the movie departs from familiar themes of the time setting it on a class of its own creating its own trend that was to influence culture and society for decades to come.

A flighty and headstrong Englishwoman of noble rank seeks and insists on independence and adventure in the Arabian desert. Indifferent to protests of persuasion and concern she heads out to the wide open desert and is captured by a tribal chieftain (The Sheik) and is drawn to a world of fear and forbidden romance.

With its highly theatrical acting, slow pace and period sentiments "The Sheik" is an emblemic artifact of the time. Rudolph Valentino is the centrepoint and is the most compelling figure of the film. With his lean, lithe figure and exotically chiseled fine features his handsome visage and unique look set him apart from the cookie cutter stereotype of the Anglo-Saxon heartthrob. The impressive sets take one to the intense barren sands of the Arab lands and viewing them it's hard to believe they weren't shot in Saudi Arabia but in California instead.

Valentino became a legend and one of the silver screen's greatest heartthrobs and sex symbols with this flick. While there's no denying the man's more aesthetic attributes time hasn't been kind to his once powerful onscreen persona. Watching this now it's hard to believe women used to faint in theaters at the sight of him. And I don't know what he or the director or both of them were going for, but with his wide-eyed, leering character he looked more like a psychopathic serial rapist than a great lover that it's chuckle-inducing. With its depictions of dark-skinned men upping white women and salivating over them, references to the "civilized West and savage barbarians (the Arabs)", and a twist at the end involving the lead character that makes the film so comfortably reassuring, the movie is revealing on the politics and mindset of the time showing that human nature doesn't change only what the thought police tells it to do.

A huge commercial success that made Valentino a superstar and established his legend, "The Sheik" set trends and left an influence that still lasts to this day. While a lightweight Rom-Com and not particularly a highlight of the silent era its importance in the history and saga of film is paramount. A must see for history lovers and fans of the silents.

One of the most memorable films made and long regarded as one of the greatest films of all time, "Bicycle Thieves" (Ladri di biciclette) is considered the pinnacle of the fabled Italian Neorealism movement and one of the gems of the realist genre in cinema. In spare and simple depiction the film lays out real life as it really is.

A jobless man finds a livelihood in run-down post-war Italy and is lucky to grab one amidst a throng of less fortunate seekers. The catch? He needs a bicycle which he doesn't have. In despair he considers everything lost until his resourceful wife comes up with an idea and the bike is procured. Things go swell shortly afterwards and life seems to be on the upswing when playful fate with its merciless hand deals the poor man a crushing blow.

The backdrop of the film is just as interesting as the movie itself. To capture the true to life portrayal of the flick director Vittorio De Sica cast non-actors for the movie with some of the leads straight from the masses themselves. It's a testament to De Sica's directorial skills that he was able bring out convincing performances: with his working class good looks and lean, angular frame lead actor Lamberto Maggiorani (a factory worker at the time) elicits admiration and sympathy with his tough and vulnerable persona as the hard luck man desperately trying to get his due. The charming and plucky Enzo Staiola (who was discovered with his father while selling flowers on the street) plays his empathic and self-willed son in one of the most impressive performances by a child on film. And the comely Lianella Carrell provides aesthetics of the female kind and moral and practical support as the tough and hands-on wife. While slow in some parts the film's twist at the end, open ending and overall message will leave a mark that few films do.

One of the classics of real life dramas in the line of "Manila at the Claws of Light" and "The Company Men" this successful recreation on the silver screen of the plight of the working class and overall the challenges in life everyone goes through is a must see for any film fan and student of people and life in general. A work of art that once witnessed will stay with you for life.

A tale of family, loyalty, revenge and the age old battle between good and evil, "Dune: Part Two" is an epic drama set in a timeless world between fantasy and our own.

An outsider of noble lineage ingratiates himself into a tribe of warriors. Seeking revenge against the injuries inflicted on his family he gains the trust of his newfound companions and trains and prepares in leading the people in his war against the dark side. Along the way he finds love, friendship and learns the virtues of trust and camaraderie.

A cross between "Star Wars" and "Mad Max" this sandy behemoth is an action-packed visual panorama. With the endless desert as open canvas the colossal narrative of war, religion, politics, intrigue and interpersonal relationships play out their roles. An all-star cast including Timothée Chalamet, Austin Butler, Javier Bardem, Christopher Walken, Josh Brolin and Rebecca Ferguson add distinction and quality with their solid performances and the rest of the cast add competent support. The special effects are well done even breathtaking in parts with every scene executed to proper use, nothing more, nothing less. The battle scenes are brief and efficient, never overstaying their welcome while highlighting their brisk and riveting scenes. The standouts are clearly Timothée Chalamet and Austin Butler, the former his handsome, amiable and seemingly vulnerable countenance belie the inner strength and resolution of his role; while the latter is eerily ominous with his reptilian sense of wonder and hissing evil.

The flaws are immediately apparent. A number of people online have complained that they couldn't follow the story. Unless one wants to get anal about it the film is immediately comprehensible in its conventional tale although it could have been simplified to make the film less vague and less reliant on the novels they're based from. Clocking in at nearly three hours the film could have been trimmed down to make it more consistent and punchier. I found myself dozing off a number of times in the middle of it. Of course, being 2024, you've got your ubiquitous pc-multicult insertions peppered throughout the flick. And lesser irks are there like Zendaya's ugly, scowling face and Dave Bautista's seeming inability to act.

While not on the level of the first "Star Wars" trilogy or "The Lord of the Rings" series, "Dune: Part Two" is one of the finest Sci-Fi flicks and is one film and Sci-Fi fans should see. While not quite worthy of the hype you'd be at a loss not to see this especially on the big screen. I look forward to the next installment.

A modern Western, "No Country for Old Men" rolls with the genre's formula while trips on it along the way. Set in 1980 Texas, the film from the start gets you going with them cowboy hats, sheriffs, a murder and drawls as endless as the Mississippi river is long.

With a gift only the devil can provide, a grifting lover hits the jackpot on a drug deal gone down the skids and fetches a whole lot of money. The catch is a psychopathic killer who's as smooth as the empty portion of his brain where his conscience should have been, a bounty hunter who's seen it all, and a sheriff nearing retirement with enough baggage and skeletons who just might get the job done.

With gorgeous scenery (Kerouac's "vast American landscape") serving as stirring contrast to the bile-inducing grotesqueries in store, the film is a doozy panoramic sweep of small town American life with blood and gunshots. Good acting and the complementary direction make this unhinged pastoral naturally going particularly with Javier Bardem. His portrayal of the rib-tickling and chilling Anton Chigurrh is one of the most memorable in filmdom: with his bad hair, deadpan delivery, effortless ruthlessness and rage-filled core he defines evil at its most raw and real. The ace cinematography, with its perfect captures and microscopic highlights capture the nuance and subtlety of the tense and foreboding scenarios elevate the senses with the nerves particularly the ones victimized the most.

Remember, this is a Western, so this good ol' boy is slowwwwww. As glacial as the Southern accents in profusion minus the charm, the empty spaces throughout the flick are as wide and expansive as the terrain the film covers, so wide and open you can hear your heart beat. This film is good, but not as good as they blurt it out to be. It's a Western. And it's slowwwwwww.

A big critical and commercial hit with Javier Bardem winning an award for Best Supporting Actor even if he's one of the lead characters in the film, "No Country for Old Men" is perhaps the best Western made and is quite the watch. Southern Gothic at its best: brutal, dark, and bloody.

Taking on a crucial period in Reggae legend Bob Marley's life, "Bob Marley: One Love" gives the viewer a view into the world of Jamaica, politics, music and the life of a man. With the scenic tropical backdrop of the Caribbean and cold, grey Europe the film is host to political turmoil, assassination, familial relations and great music.

With good pacing and solid acting the viewer sees through the world of Marley as he emerges from the obscurity of the Third World into international stardom and the triumphs and challenges that come along with it. One of the highlights of the film is the focus on music. Unlike many music documentaries and bioflicks where the music is lost in the narrative the movie focuses on Marley's naturalness as a singer, songwriter and musician. His songwriting gift, his interaction with his bandmates and his wife, his recording sessions and his live experiences are at the forefront of the movie.

Unfortunately the film hits a loud thud where it matters the most. Kingsley Ben-Adir is handsome and charming but fails to capture the real Bob Marley's ebullience and innate optimism, the sparkle in his eye that mirrored his idealism which fuelled the creation of many of his greatest songs. It reminds me of Bradley Cooper's excellent portrayal of Leonard Bernstein in "Maestro" and highlights Ben-Adir's miscast placing. The film should have really been about Marley's entire life and should have been a chronological journey from his youth to his passing. Marley's life was one of the most interesting in music and a figure as important and as singular as he deserved nothing less.

One of the finest films on music, "Bob Marley: One Love" celebrates the life and legacy of a man who is the embodiment of his music and became the hero of his nation. Reggae, music and film fans will dig this.

A loose, informal-looking document of a time and place and the idiosyncratic music they served as backdrop to, "Meet Me in the Bathroom" is a glimpse into the Rock music scene of New York City at the turn of the century. Amidst the reality of Y2K, 9/11, Napster and George W. Bush Jr. The film shows how long dead Rock n' Roll came to life in the Big Apple when bands like The Strokes, Interpol, LCD Soundystem, Yeah Yeah Yeahs and a host of others kept a dying genre in life support by creating some of the most eclectic and compelling music in all of music.

Filled with interviews from the bands themselves and their associates and archival footage this takes one back to that cold, chilly and impersonal time. From the sensational hype-driven attention given to the scene-igniting and influential Strokes to the rare female-fronted act of Yeah Yeah Yeahs, the Dance-Electronic punkisms of LCD Soundsystem and the soulful experimentalism of TV on the Radio, on to the Anti-Folk quirkiness of The Moldy Peaches to the rocking danceability of The Rapture and the cool distant approach of Interpol the movie features a constellation of young hopefuls whose talents coalesced into a particular age and era when NU Metal and Hip-Hop dominated the global music scene, music that were the opposite of what they were doing, these underrated luminaries toiling and creating in a time that neither cared about them nor gave them their due.

While watchable the film lacks perspective on what truly matter. A good chronological backdrop on the history of the New York Rock scene would have fleshed this out more and would have given more of an understanding on what the bands featured have done and what they accomplished. And most of all and what the filmmakers glaringly missed which is what the film is basically about: the music! Too much emphasis is given on the personalities involved that the main reason why they even got to be featured here is sidelined and how good even great the music actually is.

Based on journalist Lizzy Goodman's tome of the same name, "Meet Me in the Bathroom" is a celebration of Gen X's and New York Rock's final hurrah before fading into the eventual eclipse of time and memory. A tribute to a great artistic legacy and a great city this is one Rock fans should see.

A standout silent and Fritz Lang's masterpiece, "Dr. Mabuse the Gambler" (Dr. Mabuse, der Spieler) is an epic four hour Crime-Drama that never lets up in its dark telling of the age old battle between good and evil. Based on the novel "Doctor Mabuse" by Norbert Jacques, the film was written by director Fritz Lang and his soon to be wife Thea von Harbou and was originally split into two parts when first shown in public the two parts shown a month apart.

A criminal mastermind and master of disguise with hypnotic powers uses his malevolent talents to manipulate the stock market and hypnotize wealthy victims into doing his will. All comes to fierce opposition when an equally talented and determined officer of the law challenges the arch criminal in an epic game of cat and mouse where the two battle it out using their wits and resources to see themselves through.

Solid direction, generally modern acting where the theatrics of the time are admirably kept to a minimum, an impressive pace considering the length of the film and a sterling consistency elevate this silent film triumph above its peers. And the beauty of the lead actresses add aesthetic ornament; their strikingly modern visages transcending time.

The only snag to this gem is its lengthy time run. While highly watchable considering the format and its age the film does run out of steam in parts at the second half. Had the movie been shorter by half it would have made it more conventional but it would have given it a bit more punch. This is better than its other lauded contemporaries like "Nosferatu" and "Metropolis" but this 4 hour behemoth may be too much for a lot of modern viewers and deter them from seeing this and may explain why the other mentioned films are more highly regarded.

Seen as social commentary on Germany at the time and in hindsight what was to come, "Dr. Mabuse the Gambler" is a silent classic and the masterpiece of German Expressionism whose quality and able tackling of modern urban society elevate it to artistic quality and timeless relevance. A must see for silent film fans, film historians and open-minded conoisseurs of art.

A modern take on Mary Shelley's "Frankenstein" based on Alasdair Gray's novel of the same name, "Poor Things" is a millennial take on the topics of science, culture and sexuality. Opulently ugly and over the top, corniness and watchability go hand in hand in this boudoir-bedecked romp.

In Victorian London an unhappily married woman makes a fatal decision that leads to a chain of events that she would have never foreseen even in the depths of her bottomless misery. Thanks to the wonders of science she emerges as an automaton ripe for the world's abuse and picking. With this wonderful foundation the film is used to criticize society, religion, and the patriarchy. Willem Dafoe, Emma Stone and Mark Ruffalo do their share in earning their hefty paychecks while the rest of the cast follow through. The odd camera shots, weird angles, absurdist dialogues and somewhat dreamlike, unreal settings create a messy foray into this period piece smudged in between cheap German Expressionism and barely there Steampunk.

With the description above I don't have to go through the flaws of the film in much detail. I don't know what they were going for but if Emma Stone was suppose to come across as some soulless robot then she should stick to her Rom-Com job. As one of my Hollywood crushes it was a treat to see her nude and in numerous scenes of copulation and in the throes of orgasm but for this kind of film the sex was too much. Either the ones responsible had too much of it in their minds or they felt it was needed to keep people watching in this pretty tedious and overlong two hour flick the huff puff - bang bangs just made the film a bit too tacky and off to be right. I think it was a misguided choice for Emma Stone to reveal too much here. As one of the established actors in Hollywood this film may damage her reputation and cast a slight upon her and her future prospects. This is the kind of lead role an up and coming actress with nothing to lose can take and is very much one Stone could have passed over. And with your typical pc-feminist tripes tacked on board you've been warned.

Tacky but funny and watchable, "Poor Things" utilizes its star power to serve its contemporary agenda and falls flat yet still entertains. Flawed and pretty much insubstantial it's still worth the watch for the tradition it maintains which its politics tries hard to undermine.

Football is the most popular game in the world. Beloved by billions, few know of its fascinating and rowdy origins in 19th Century Britain. Man kicking a ball for sport has been going on for millennia but the modern sport as we know it was created by a small and snobby group of aristocrats in Victorian England. "The English Game" is the compelling depiction of the game's stuffy origins to its emergence in Britain when people of all classes embraced the game as their own.

A seamless blend of history and fiction the TV miniseries chronicles the drama of individuals from opposite sides of the social scale and their tense relationships as the game became too big for anyone to handle. With good acting and strikingly attractive scenery that places this period piece in visual aesthetics the film touches on the common themes of man like class, friendship, loyalty, romance, family and sportsmanship in natural progression. While the usual bane of pc insertions grate on one's sensibilities and there's more drama than Football overall the film highlights the class divide and the uniting factor of sport very well from start to finish.

One of the best television shows of recent times, "The English Game" is a riveting portrayal of an age and a sport that altered and unified the world like no other pastime since. A must watch for film and history fans.

Another entry into the growing list of commendable historical films to emerge from the Philippines in recent times, "GomBurZa" is historical drama filmed in elegance and solemnity. The trial and execution of Mariano Gomes, José Burgos and Jacinto Zamora, Philippine Catholic priests unjustly accused of rebellion against Spain during the latter's colonial occupation of the Philippines was the trigger that led to the revolution that would oust the Spaniards from the country. Led by a solid cast including veteran actor Dante Rivero, film heartthrob Piolo Pascual and cinema mainstays Cedrick Juan and Enchong Dee the film depicts in tones of dark hue the abuse Filipinos underwent from the Spanish priesthood and the growing, simmering unrest that would ignite into full rebellion. The period piece offers a fine glimpse of 19th Century tropical colonial life.

While well-paced and well-acted the steady, gradual build-up of the movie leads to slow parts spotted throughout the film. While the film very much gets to the point from the get-go this is the kind of film that works best when it ditches the chaff and cuts to the chase all throughout zooming straight to the climax. Historical accuracy is also put into question in some instances. The Spanish friars in the film don't look much like Spaniards and they resemble more mixed-race locals and Filipinos. The local language used is questionable as many words used smack more of contemporary vernacular rather than mid-19th Century Tagalog.

A success in art and a call and reminder to patriotism, "GomBurZa" shows and highlights the importance of unity in culture, race and nationhood. A veritable reminder through art that a nation is it's own living, breathing unique self that has its own path to travel and no exterior, outside influence has the right to interfere with it's destiny and calling.

An amusing and sordid tale of wealth, privilege and tragedy, "Saltburn" is a penetrative and voyeuristic glimpse into the genteel and eccentric world of the rich where knaivete and smugness go hand in hand like two stones rubbed at each other.

An ugly, middle class closeted homosexual is a top scholar who finds himself a slot in Oxford University. Awkward and out of place amidst his wealthier and better-looking peers he becomes besotted with a handsome aristocrat and strikes a friendship with him. When news arrives of his father's "passing" the pretty boy scion invites him over to his family estate. If he only knew.

A cross between Patricia Highsmith's "The Talented Mr. Ripley" and Philippe Besson's "Lie with Me" the film takes one on a panoramic view of plush surroundings and complicated relationships. Solid directing and consistently good acting make this riveting thriller of manipulation and deceit a transfixing one, where evil is not served bluntly but slyly with an ugly smile.

One of the finest films made and one of the standouts of recent times, "Saltburn" reminds us the price of illusion is steep and reality is the great leveller. Although decadent in it's overall unreality and another anti-rich flick anyone who has mingled with the upper-class will recognize the plight of the privileged unknowing in this barbed take. Think the rich have it too good? Watch and see.

An impressive tale of art and true love, "Maestro" conducts in sweeping fashion the romance between renowned composer Leonard Bernstein and his wife actress Felicia Montealegre. Chronicling in stylish B & W the couple's idyllic early years then switching to color in the pair's troubled middle age scene after scene is a compelling look at the world of Classical Music and the upper echelons of 20th Century American society. Bradley Cooper stars and directs and shines as Bernstein portraying the man in uncanny likeness revealing Bernstein's idealism, talent and sexual ambiguity. Carey Mulligan is at her best as Montealegre providing the perfect chemistry with Cooper as she depicts Bernstein's muse with all the strength and pathos a suffering woman endures. Their performances are among the most admirable displays of natural acting that the sheer sweep of their cinematic mastery can be breathtaking. With a strong supporting cast, fine soundtrack and complementary script the film is one of the finest ever made and one of the standouts of contemporary cinema.

A tribute to a musical legend and a celebration of art and an age, "Maestro" is Old School filmmaking with a modern touch resurrecting the heart and soul film is capable of projecting and touches on matters that are the deepest and most important in life. A must see.

Currently reading a biography on Jim Morrison it sparked my interest on Tom Baker, his drinking buddy and one of the more interesting cult figures in American cinema. Actor, writer, director and producer, Baker cut quite an interesting path in the film underground. With "I, a Man", perhaps his best known film, Baker is at his peak in all his becoming and wasted glory.

Inspired to make their own version and response to the influential Scandinavian flick, "I, a Woman", Pop artist Andy Warhol and underground filmmaker Paul Morrissey fleshed out "I, a Man", a slice of life depiction on a male prostitute and his experiences on the job. Baker plays himself as the hustler for hire and the film is all about him blabbing and romancing a number of women. What makes the film fascinating is the mundane discussions that mirror any discussion that goes on around the world between men and women in the confines of the bedroom. The fly on the wall, voyeuristic gaze on these real life intimacies is art as life and the documentary approach Warhol and Morrissey are known for created some of the more watchable amateur flicks in cinema history. A number of the "Warhol Superstars" appear and it's good to see the likes of Ingrid Superstar and Ultra Violet in their prime. Seeing Valerie Solanas is intriguing and quite unsettling. The highlight of the film may be seeing Nico and Tom Baker in their memorable scene, their striking good looks adorning the film as one of the most aesthetic couples to grace the silver screen. The very definition of an acquired taste, this crude and talky lo-fi exercise on erotic amateurism will be risible or trying or both to most but to those who want their art to show life as it is then this is one to view.

An interesting look at a fascinating time and vibrant artistic scene, "I, a Man" is an enduring artifact of an age of innovation and change that profoundly altered and shaped the modern era. One of the notable culties, this is one for those who appreciate something different.

A tale of drama, tragedy and danger at high speed, "Ferrari" is a glimpse at a time in Enzo Ferrari's life where his personal and professional life were in turmoil what with infidelity, business troubles and deaths plaguing his dreams of racing glory. Based on the book "Enzo Ferrari: The Man, the Cars, the Races, the Machine" by Brock Yates the film takes on the challenges faced by the icon as he navigates his perilous course through destiny.

Adam Driver stars as the racing legend portraying him as a tall and gangly poker-faced boss kowtowed by his women and who encourages and disparages his people in turn. Penélope Cruz plays his tough, no nonsense wife who milks her long suffering relationship with her husband for all its difficult worth. Shailene Woodley is his patient and dutiful mistress while a cast of reporters, racers and celebrities pay court to the legend. While no classic and nothing particularly outstanding the movie is a fascinating look at the world of big business, the racing industry and the life and mind of a man living at a pinnacle of power.

Founder of one of the most popular and most revered automobiles in history, Enzo Ferrari is one of the most interesting personalities in history and "Ferrari" gives a good idea why. This is a fine, simple and direct film that every racing enthusiast and film fan wouldn't mind seeing.

Lovely, simple and well done, just like the album itself, "The Kinks: Echoes of a World" is a moving and inspiring documentary on Rock legend The Kinks greatest album, "The Kinks are the Village Green Preservation Society". Released in the turbulent and vastly changing year of 1968 The Kinks' masterpiece flew in the face of trends and celebrated the past in profoundly memorable and inspiring songcraft. Greeted with indifference the album was a flop in both Britain and America but has grown in stature and influence and has since been regarded as one of the greatest Rock albums of all time.

Kicking off to the origins of the group's loud and trailblazing career the documentary features footage of the band's live performances from the time. The highlight of the doc are the interviews and they're a treat. The interviews of the band members and musical luminaries like Noel Gallagher, Graham Coxon, Natalie Merchant, Graham "Suggs" McPherson, Andy Partridge, Paul Weller and others on the deep impact the music had on them are stirring and inspiring. The film goes track by track on the discussion of some of those great songs and there's an added treat of seeing the art work of some of those interviewed on particular songs shown. A few snags surface. Not all of the songs are discussed which is a shame on an "all killer, no filler" album like this. It's quite a void not to have Billie Joe Armstrong interviewed as he's one of the stars very much influenced by The Kinks and has ripped them off considerably to the top of the charts and into the banks. The unknown actor who plays a young Ray Davies at the time and who looks nothing like him is a real tack-on that defines the term "misstep".

One of the finest Rock documentaries, "The Kinks: Echoes of a World" is a celebration on Ray Davies' artistry and the power of art to change lives and actually make life worth living. After this go give "The Kinks are the Village Green Preservation Society" a listen and immerse and lose yourself into a world of musical paradise and bliss the likes you'll rarely come across in this life. "Yes people often change, but memories of people can remain".

One of the best and most stirring films on the American Civil War, "Glory" is high drama in artistry and quality. Based on the books "Lay This Laurel" by Lincoln Kirstein and "One Gallant Rush" by Peter Burchard and the letters of Robert Gould Shaw the film is an epic dramatization on war, race and the triumph of the human spirit over seemingly insurmountable adversity.

The son of wealthy abolitionists from Boston, Robert Gould Shaw seemed destined to a life of privilege and promise until the Civil War broke out in the United States. Enlisting in the Union army Shaw found himself commanding the 54th Massachussetts Infantry Regiment, one of the first all black units in the war. Braving the massive challenges and consequences Shaw would lead himself and the men to distinguished service and death on the battlefield being forever enshrined in the annals of history.

Featuring a stellar cast led by Matthew Broderick, Denzel Washington and Morgan Freeman, "Glory" chronicles Shaw's and the regiments tale from their difficult beginnings to immortality in the battlefield. The racism, indifference, brutality and the close bond of camaraderie are compellingly and dramatically shown together with some of the best battle scenes in filmdom. The ace cinematography and moving soundtrack enhance the memorable tale. While some parts are a little too overdramatized and the film takes historic liberties the sterling depiction and nature of the story bypass and rationalize them.

Winner of a number of awards (including Best Supporting Actor for Denzel Washington in the Oscars), "Glory" pays tribute to the greatest civil war in history with its portrayal of the conflict's human and martial drama and is an artistic legacy on the power of film to mirror life itself. Essential.

A Spanish-Mexican release based on the novel "Halma" by Benito Pérez Galdós, "Viridiana" is a dark, unsettling and titillating glimpse at the harsh brutalities of life, when reality all too assuredly demolishes the lofty aspirations of blind and misguided idealism cutting down its victims into wrecked and more knowing survivors.

An interesting and sexy young nun with no interest in going back to the outside world from the cloistered shelter of the convent receives an invitation from her estranged uncle to visit his estate. Reluctantly she goes. She should have stayed in the convent.

Sex, cross dressing, incest, the breaking of social barriers and the real face of the poor are realistically depicted in as raw and as unflattering a manner as the medium of film can convey. Renowned director Luis Buñuel displays his legendary reputation with the natural prowess acted by each thespian in this slow but disturbingly compelling slice of life drama.

Voted by film geeks as the greatest Spanish film made, "Viridiana" will dust the cobwebs off starry-eyed SJWs and make the deluded think twice about "blessed are the poor". Or at least enrage such unfortunates. Do yourself a favor and see this; one things for sure, after viewing this you'll either loathe life if you're on the wrong track of existence or appreciate it more if you know better. Either way, you won't be unmoved. Essential.

Filmed in difficult circumstances in German occupied France during World War 2, "Children of Paradise" (Les enfants du paradis) is cinema and literature unfolding in a stream of artistry and talent.

Set in 1830s Paris, an aging actress endowed with more sex appeal than actual beauty is a man-magnet who never fails to elicit fawning admiration from besotted males wherever she is. A bony, effeminate mime; a criminal with a literary flair; an uptight Count; and a glib actor all share their obsession with the bemused and knowing Mrs. Robinson crossing paths in ways both interesting and tragic.

With the flawless acting, impressive poetic script and aesthetic visuals the film is a tour de force in the sheer impact of the art of cinema when done consistently well. As an admirer of Albert Camus and his writings it was nice to see his close colleagues Jean-Louis Barrault and Maria Casares in action. Although a little too long and the length strains the film to slow spots throughout the movie packs too much of a wallop that it sustains its verve and substance from start to finish.

Regarded as one of the great films and praised by the likes of Francois Truffaut and Marlon Brando, "Children of Paradise" is one of the notable epics in cinema history and a triumph in the creation of movies as art and history. A must see for the aesthete in every viewer.

One of the films of recent times I looked forward to seeing, "Napoleon" finds the "Gladiator" tandem of Joaquin Phoenix and Ridley Scott on another historical epic, this time on the great French emperor, one of the most fascinating and pivotal figures in world history.

A big budgeted flick with a huge cast to cover this larger than life personality, the movie adequately covers the earthshaking events of the French Revolution to its transition to empire. Shot in dark and grimy tones typical of the style of current cinema "Napoleon" charts its hero's rise from unknown corporal to emperor onto his final exile. Joaquin Phoenix portrays an aged, weary, and depressed-looking Napoleon where the weight of the world and his ambitions lay heavily on his burdened countenance. The color and pageantry of the times are in fine display and the battles give a glimpse of the elegance and brutal bloodbaths of the sword and musket era.

To do justice to an individual as monumental and as important as the subject requires an effort and success on a huge scale and in this the film fails. Napoleon's childhood should have been covered as the backdrop of any important individual is important in fully understanding the person and his life as a whole. As a student and enthusiast of military history I was overall disappointed with the depiction of the battles. Napoleon was responsible for some of the greatest and most crucial battles in world history and the clash of arms featured in the film are small scale in light of the historical events. Historical liberties are taken in the film and the worse are in the battles where in one example at the Battle of Waterloo the dramatic final charge of the French Old Guard isn't shown. Instead Napoleon leads his troops and attacks the enemy troops in person! And while his relationship with Joséphine Bonaparte constitutes a huge part of his legend there's no denying that the film, while adding an appealing humanity to the man's story in its highlight of his relationship with her sacrifices a number of other, more important matters, like war, politics, diplomacy, etc.. The film strikes a good balance generally with all of these but one can't help but notice the movie borders on the side of soap with the feminist-pc streak underlying Napoleon's relation with his muse as shown here. Vanessa Kirby is fine as the flighty and complex empress but with her skinny, tall, bug-eyed look she fails fully to convey the voluptuous, handsome and enigmatic woman of history.

A solid if unremarkable attempt at old school substance and grandeur, "Napoleon" if anything is a much needed and much appreciated antidote to the superhero and rom-com flicks that glut films nowadays. The 4 hour cut of the film should flesh this out more. An end of the year treat, this injects some depth to the market and is one film, history and military buffs wouldn't mind seeing.

A pioneering work on gay cinema, "A Florida Enchantment" is a delightful and entertaining glimpse at WW1-era America and its social and cultural mores. Based on a book and play of the same name this vintage charmer tells the tale of a woman who ingests strange "ingredients" that transform her into something not particularly favorable in 1914 America. Coming from a 1 % family and with an aging doctor for a suitor madcap hilarity ensues as the young lady indulges in her newfound freedom to everyone's horror and bemusement.

In humorous and still quite scandalous tones the film takes on the then novel topics of bisexuality, cross dressing and transgenderism. Although it has its slow parts and the minimal intertitles make the story a bit hard to follow at little over an hour long the acting and pacing are well done for a film well over a century old. To see the elegant suits of the men, the elaborate gowns of the women, the hats, the antiquated gestures and mannerisms, the amusing blackface, and overall vintage look, feel and vibe hearken one back to a bygone age. What I'll always remember and associate the film with is the sunny, windy, leafy and lush scenery of the Florida background which gives this B & W relic a tropical freshness distinct in movies of the time.

One of the silents that will always remain viewable and relevant because of its quality and subject matter, "A Florida Enchantment" is a must see for historians and silent film fans.

A cult legend among the worst films ever made, "The Room" is Tommy Wiseau's love affliction to the world. With an interesting backdrop on both the man and the film the stars aligned and crashed in this sterling display of mundanity and bad acting by the lead character.

With scenic San Francisco as the background, a long haired, world weary, craggy-faced, d*****y guy making big bucks (typical) is engrossed with a homely gal and does everything for her. Problem arises when his object of affection is smitten instead by his handsome and fruity-looking best friend. And so a tale as old as time unfolds with laughter, fist fights, a gunshot and a football thrown back and forth.

What really sets this film apart and consigns it to the bottom barrel of "so bad it's good" is Tommy Wiseau's truly awful acting. With his funny accent and barely altering facial expression it's not just ham, it's the entire pig itself. To watch the scene at the end of the film where his character has a "breakdown" is a chuckle for the ages. Coupled with the amusing sex scenes and you know this is amateur hour, bad amateur hour. The film isn't bad as a whole as the acting of the other actors are competent and the script is typical. With its clear lighting (which is how films should be shot mostly; a rare credit to Wiseau for that!) and odd combo of awkward acting and flat dialogues the film is a throwback to '80s-'90s soft porn flicks with their glitzy backgrounds and Razzie-inducing performances.

A film much ballyhooed for being considered more bad than it actually is, "The Room" has since it's gravity-proving release been celebrated in film, books, reunions, spoofs, games and what have you elevating Wiseau to cult stardom which he's milked for all its worth. For some laughs and to be witness to one of the strangest individuals one can come across onscreen, this is a room with a view.

You know you're gonna be in for a rollicking fun ride from the start when the camera sweeps in revealing panorama a line of thrilled metalheads as they laugh, make faces, flip the finger and moon the viewer into this wacky carousel of big hair, make-up, leather, hot babes and loud and fun music.

Featuring interviews and live footage, director Penelope Spheeris' second installment in her chronicle of the Los Angeles Rock scene finds one in the City of Angels ca. 1987-1988 at the height of the Glam/Hair Metal scene. A style and look of Rock music that emphasized the lighter side of life and band members looking like their adoring groupies the sound captured the sexy and plastic side of the great city. The combo of the established figures and up and comers is a treat. A surprisingly sober Ozzy Osbourne; Steven Tyler and Joe Perry looking well-scrubbed; a pleasantly approachable Gene Simmons and his much more engaging cohort Paul Stanley surrounded in bed by a bevy of lingerie-bedecked women; a ready to perform Alice Cooper; a cool Lemmy with a nice view of L. A. as his background; a surly Dave Mustaine; an obnoxious Chris Holmes in a swimming pool (you can see why Duff McKagan decked him) with his long suffering mother barely concealing her disdain; etc.. The interviews with the current stars of the day, wannabe hopefuls and fans are amusing glimpses of the guys and gals as Poison, Faster Pussycat and Vixen share laughs and insights with Odin and LONDON showing them to be well-meaning young men and women sharing a love for life and a passion for the music. The live performances showcase that the bands could rock and the striptease tease can sure set loins aflame!

It's a shame Motley Crue and Guns N' Roses weren't in attendance as they embodied the L. A. Rock scene at the time to its peak - the former with the lifestyle and the latter for the quality. And as fun and as rockin' as the guys were one can see the superficiality of the scene as a whole when Spheeris wisely chose to show Megadeth as the final act to wrap up this memorable gig - in the long run it's the music that matters. And it's no surprise a few years later a little known band from nondescript Seattle, Washington would alter Rock and music forever obliterating almost everything most of the bands featured here have done.

A riveting and entertaining trip down memory lane and cultural artifact, this is history told with a dash of hairspray, a swipe of make-up and the crash of a power chord. Thunder on the night forever!

Based on a graphic novel, "The Killer" is a mood-filled vibe of slow burn pacing and waiting for the anticipated, with whatever thrills one can get along the way. A hired assassin botches a job and retribution is swift. The hurt is close and deep so he goes on a personal quest to mete out vengeance and comes across some interesting experiences and characters as the bullet from his gun gets acquainted with one skull after another.

Michael Fassbender slips well into his role and looks the part of the 21st Century antagonist: gaunt, ugly and fruity. Filmed in the unappealing dark tone typical of the times the film is divided into chapters chronicling the killer's progress in his laundry list of things to do. The movie's motion rests primarily on the lead's interior monologues and while giving the flick some interest and depth the film would have worked best with more action instead. If I wanted to know about some oddball's interior existential crisis I'd read Kafka or Camus. The Smiths' soundtrack is cool 'though the Trent Reznor/Atticus Ross collab fits the film more. And while the acting is good overall the trip is pretty long with the destination not really warranting the effort.

Watchable but nothing to write home about, "The Killer" is not one of noted director David Fincher's better efforts and is one for a quick fix if you've got a jones for the subject matter. You can skip this.