Lock, Stock, and Two Film Geeks

This time around I have a slightly classic recommendation for you.  Movie experts have long praised Ran as not only one of the better foreign films, but one of the best films ever.  IMDB’s top 250 (hardly a home for sophisticated criticism, but still an easy place to start when looking to build the “canon” of film) places the film at #143 currently, which is nothing to sneeze at in terms of rankings.  And as someone who’s already seen Seven Samurai and Rashomon, it seemed time to take the next step in my education on the works of Akira Kurosawa.  For those who don’t know, Kurosawa is essentially the most heralded auteur in Japanese Cinema history.  He’s known for long, epic, period pieces primarily set in feudal Japan.  He’s not the most accessible filmmaker by any means, but a full viewing of his better films is always rewarding to those who have the patience.  Ran is no less trying when it comes to its commitment requirements, but I found it incredibly immersing and an amazing film overall. Continue reading

Harry Brown will most likely be described as “British Death Wish with Michael Caine”, and to an extent, it is.  However, Michael Caine’s performance as the titular elderly avenger and the film’s political tone turns the film into something greater than your run-of-the-mill revenge shoot ‘em up.

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In this era of redone, re-envisioned and rebooted superhero films, it is expected that our superheroes be portrayed in a more realistic, edgy manner than that of their Golden Age-era counterparts.  But there hasn’t been a film that, both, pays homage to caped crusaders and displays gleeful irreverence to the genre.  At least, not like Kick-Ass.

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Whatever happened to the children of John Hughes, with their angst, their questions and their seemingly never-ending youth?  They grew up to find their answers only lead to more infuriating question, and growing up is never easy, no matter how old you are.

Cameron Crowe’s Singles is one of the first films to chronicle the burgeoning “Generation X”, a culture of grunge music, environmentalism, flannel, tattered jeans and relationship woes.  Singles focuses on two couples as they experience the trials and tribulations of being in relationships.  Neither relationship is what one would call typical, which provides a considerable (and sometimes unnecessary) amount of drama.  Steve and Linda (Campbell Scott and Kyra Sedgwick) are both instantly drawn towards one another, but their relationship is shaky at best, mostly due to Linda’s experience with dishonest men.  Janet and Cliff (Bridget Fonda and Matt Dillon) are the more entertaining, albeit lopsided couple, with Janet madly in love with Cliff, who’d prefer to keep it casual. Continue reading

Many know by now that I love a good con film.  Additionally, traditionally I’ve been someone who enjoys something with a healthy dose of comedy, rather than a deeply depressing genre.  So when I view a film like Paper Moon, a comedy/drama about a confidence man and a girl who may or may not be his daughter, it’s generally not hard to predict how I will feel about it ahead of time.  I’m not very familiar with the films of Peter Bogdanovich, who directed this film, nor the work of Ryan O’Neal, who stars in it.  Nor had I seen anything with Tatum O’Neal, who I assume is generally categorized as a child star because of films like this one, which was her debut (or perhaps it’s the nepotism — working with her father in this film certainly must have helped).  But I am of course a fan of the genre, and the presence of Madeline Kahn didn’t hurt either.

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Biopics have a fairly standard structure; whether it’s about an aging musician or a troubled athlete, the presentation is often the same, and as of late, has become a boring.  Bronson begins with a fistfight between a naked convict and a group of prison guards.  If that doesn’t grab you by the balls, I don’t know what does.

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It’s not often on Lock, Stock, and Two Film Geeks that we discuss the biggest movies of the week, but I’m going to do it this week.  I wish it was because I felt really passionately about it, that it was some work of art worth presenting to the masses.  Unfortunately, this is not the case with Alice in Wonderland.  I’m reviewing the new live action Tim Burton interpretation of this children’s story mostly because, well, I saw the film.  Actually, this is the most I’ve ever wanted to have a notepad and pen with me in the theater, I had quite a few thoughts, and hopefully most of them will make it to the page.  As I mentioned in Taking Stock, our weekly column about the films coming out this weekend, I wasn’t too hyped up about this movie, citing being tired of the “Tim Burton redoes a children’s movie in his style” thing.  And I was about right, I got major Charlie and the Chocolate Factory vibes, amongst many other films that I’ll try and list throughout the review.  Overall there’s things to like here, but even despite my relatively low expectations, I was still disappointed with this film. Continue reading

Un Prophete, France/s entry to the Academy’s Best Foreign Film category, has been compared to The Godfather, a comparison that many will think presumptuous, undeserved or euro-centric.  Though the film’s protagonist is no Michael Corleone, the rise of the film’s titular character is just as majestic and engaging as his Seventies, American counterpart.

Malik El Djebena (Tahar Rahim) is a nineteen-year-old Beur (formal term for an Arab immigrant in France) living on the streets of France when he is arrested and given a six-year sentence.  He has no family, no friends in or outside of prison and is illiterate.  Needless to say, he has all the odds stacked against him.

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Let’s just be clear from the start.  It’s not often these days that a film causes me to constantly think to myself, This is so awesome. But sitting in a darkened theater, watching Shutter Island, the latest from Martin Scorsese and Leonardo Di Caprio, that is exactly what I was thinking.  Martin Scorsese is a master of the medium, so this is certainly no surprise, but seldom has his work been this much fun.  Not only does this film pay homage to the greats of the thriller genre while fleshing itself as a full-fledged entry itself, but it’s also an example of some of the finest filmmaking execution I’ve seen in some time.

As always, I’ll stay brief with my synopsis.  Di Caprio plays Teddy Daniels, a federal marshal who, alongside his partner Chuck (Mark Ruffalo) goes to an island to investigate the disappearance of a patient from a highly secure mental institution for the criminally insane.  And let the eerie events ensue. Continue reading

Works of great cinematic art are a funny thing.  Often, they are the result of a brilliant script, fantastic direction and solid performances by able actors.  Sometimes, however, greatness can be achieved entirely by accident, or in spite of itself.  Such is the curious case of The Room.
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