Boogie Nights Review

Nowadays, audiences new to the work of Paul Thomas Anderson will find drawn-out, ripping character dramas that make modest success at the box office, and find massive critical success. However, with the never ending cacophony of CGI-fests and superhero flicks, it is important to remember the films that matter, starting perhaps with the domineering force of Anderson, one of the best American filmmakers around today.

It took Scorsese almost twenty years making movies to find the shining, brutal, and quick tone of a lifestyle study with his fifteenth film Goodfellas in 1990.

It took Anderson a tenth of that time with his second film.

Boogie Nights explores the seductive and frenetic world of the pornography industry of the late 1970s and early 1980s. The narrative follows Eddie Adams (later Dirk Diggler), played by Mark Wahlberg, as he searches for how he can become the star he was meant to be. If anything, Boogie Nights starts as a necessary study of the American masculine ideology, to be the best–exceedingly and without fault that is–in everything he does. That is what Diggler wants to do, and it corrodes him to a hardened shell of the man he would have become otherwise. Wahlberg’s transformation from a wide-eyed, naive busboy at a nightclub to a demanding and violent “star” is handled uniquely and deftly.

Wahlberg’s performance is just the tip of the iceberg in what proves to be a beyond stellar ensemble cast. Burt Reynolds, Julianne Moore, John C. Reilly, William H. Macy, Heather Graham, Philip Seymour Hoffman, and Don Cheadle are examples of the acting power that exists in this film. Their control on a wild spirit of a subject never lets the viewer go.

Beyond the phenomenal casting, Anderson’s direction is where the film truly shines. In his other films that I have seen (There Will Be Blood (2007), and Phantom Thread (2017)) his level of “control” is something that was a constant. Scenes would be set up, and executed, with a necessary level of beautiful simplicity. That is a far cry from what is exemplified with this film in his early career. With wonderful tracking shots (the opening scene at the nightclub, the party at Jack’s house, and the tour of Dirk’s house a la Goodfellas), he is able to tame a beast of storytelling while still allowing for some of it to break through.

Through montage, and eccentrically edited scenes, the fast paced and warring aspect of the pornography industry is made plain. It is marvel to witness this stark ability of direction and film making, especially when considering how young (27), and relatively inexperienced Anderson was at the time of making this film. Unbridled passion clearly works to create the absolute genius on display in Boogie Nights.

Another key point of praise that must be made is the soundtrack. Film soundtracks only go one of two ways: hit (Jackie Brown), or miss (Suicide Squad). From the jovial attitude of rock orchestra Apollo 100, to the disco kings (and queens) of Boney M., the soundtrack ebbs and flows with the greatest collection of hits that I have ever heard in a film. In going back to soundtracks that are a miss, execution with the song is absolutely key to create a lasting effect, and response, from the audience. A film like Suicide Squad forces feeds the audience overused and frankly boring tracks in order to jazz up an already thin story-line. Fortunately, this is not the case with Boogie Nights. The soundtrack quite literally never ceases, but each track is affixed in perfection to the images accompanying it on screen. The odyssey of Dirk Diggler and his compatriots are aided in full by this brilliantly picked soundtrack. When you see it, you’ll know what I mean. It is with no stretch of the imagination or use of hyperbole when I say this is the greatest film soundtrack (with exceptions of purely original orchestral ones) that I have ever heard.

A point of criticism that I’ve seen written about Boogie Nights is the lack of a cemented moral awakening or meaning to the narrative. But the point of the film is of the warped perception of value in the characters. They find themselves in a fixed path towards a shining light at the end of the tunnel that no matter what they try, they’ll never reach it, hammering a sense of brutal reality into the film.

If you only see one P.T. Anderson film in your life, make it Boogie Nights. Besides, it’s on Netflix.

A confident…

5/5

Kill Bill Review

Tarantino has always been among my all-time favorite directors. His visceral, humorous, and sometimes quaint look at dialogue, relationships, and violence is a wonder to behold. I still count both Pulp Fiction, and Django Unchained as two “desert island” films of mine. I had been left disappointed by Inglorious Basterds, remained indifferent towards Reservoir Dogs and The Hateful Eight, and had been craving something great out of his three other films that I hadn’t seen. Well, I had seen part of one. Years ago, I watched Kill Bill Vol. 1, and didn’t really care for it. Vol. 1, in my eyes back then, didn’t contain enough true character, life, or quality to stand as a great film, let alone on the same level as Fiction, or Django.

Boy, was I mistaken.

Recently, Netflix put Vol. 1 and Vol. 2 back on streaming, and I was determined to watch both parts this time, and do a combined review. (Tarantino after all had intended for it to be one four-hour-long film, but was persuaded to cut it into two parts). And, here we are.

So, this review may have some minor spoilers for both parts, so proceed with caution.

Kill Bill tells the story of The Bride (Uma Thurman), and her quest to kill all her former colleagues who attempted to kill her unborn child and herself on her wedding day four years prior. The Bride used to be one among them, one of the best assassins in the world. Then, she assumed an alias, and wanted to settle down and get married. Everyone else at the wedding is killed, and she remains in a coma for four years.

The Bride’s kill list of the is as follows:

• O-Ren Ishii (Lucy Liu)
• Vernita Green (Vivica A. Fox)
• Budd (Michael Madsen)
• Elle Driver (Daryl Hannah)
• Bill (David Carradine)

Vol. 1 opens with The Bride traveling to Vernita Green’s house to kill her. In the midst of their fighting, Green’s four-year-old daughter comes home from school. Through that initial dark humor, Tarantino sets the stage for how the rest of the story will play out.

Kill Bill is, in equal parts, a Western, a revenge, (an anime at one point), and a samurai film. But it is, perhaps most importantly, an empowering film. It isn’t necessarily a feminist film, but it works on those levels to perfection. With many films that are more feminist in nature, a male audience may feel alienated in approaching that film. Fortunately, with Kill Bill, all audiences, regardless of race, gender, or ethnicity, can enjoy this film to the maximum. The Bride’s displayed bad-assery that comes with fighting the entire Crazy 88s gang, or training with Pai Mei, is wholly engaging and a sight to behold.

More importantly, this film hearkens deeper into a protagonist’s character than any of his other films. The Bride’s earlier days are seen through flashback (mainly in Vol. 2), and, supplanted with her present actions, furthers the audience’s love for her character. She is the strongest Tarantino protagonist, and the audience is lucky enough to go on this crazy two volume ride. Uma Thurman’s prowess as an actress becomes abundantly clear, and she should’ve been nominated for an Oscar for Vol. 2.

The other actors also shine in their respective supporting places. Liu and Hannah are dark, imposing, and all around bad-asses in their roles as O-Ren and Elle. O-Ren’s backstory is told with complete anime-style animation, a point that makes this film a true melting pot of genres. Madsen is cool, and collected though perhaps a tad disappointing as Bud, the “chill” assassin. All supporting acting credit, however, goes to David Carradine as the eponymous antagonist “Bill.” Though not seen as much in Vol. 1 than Vol. 2, Carradine is entirely charming and devious as Bill, whether that be in flashbacks, or in present day scenes. A brilliant monologue of his is seen in a flashback in Vol. 2, at the beginning of Chapter Eight: The Cruel Tutelage of Pai Mei, where he tells of the legend of Pai Mei. There is another great monologue about Superman and Clark Kent, though that scene is spoiler-laden. He is an altogether fitting antagonist to Thurman’s shining protagonist.

Another absolute point of praise is the soundtrack. Tarantino is a director who consistently produces massive, and fantastic soundtracks. Only The Hateful Eight has an actual score, and his other soundtracks are a combination of songs and pieces of dialogue from the films. With Kill Bill, it features Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down),” “The Grand Duel (from the 1972 film The Grand Duel),” “Battle Without Honor or Humanity (from Another Battle),” “Ironside (also known as the “Kill Bill Sound” from Ironside),” and “The Lonely Shepard.” Tarantino takes these similar tracks from a wide variety of films, and alters and combines them to form a cohesive and brilliant music structure to the film.

This next element is evident more in Vol. 1, than in Vol. 2, but the fight choreography displayed is breathtaking. Specifically, the fight sequence in Chapter Five: Showdown at House of Blue Leaves (Vol. 1). While in part color, and part black and white, a cacophony of violence, humor, and art erupts all at once. It is fierce, but it is a ferocity that is controlled for the most part by a steady hand displayed by Tarantino. While it is hard to describe exactly how the fighting is shown, and how it pans out, it is an essential, and brilliant element that is at play in the film.

Kill Bill is a great film for the ages, one that combines fantastic genres from the mid-twentieth century into a modern story that is on one side empowering (and even relatable), and on the other side a majestic action film spectacle.

Please, please, please. If you have Netflix, or just love watching great films, watch Volumes 1 and 2 of Kill Bill. It is a journey you will not forget for quite some time.

While I won’t go so far as to declare this the greatest Tarantino film, it is a fantastic film nonetheless. And so, I will award it the coveted…

5/5

For all who have seen the film, my favorite scene is the graveyard sequence in Vol. 2. For all who haven’t seen the film, watch it, and you’ll see what I mean.

 

Waltz with Bashir Review

Wow.

Now that is you make movies.

Waltz with Bashir is radically different from any kind of film people typically go to see, and yet, it is one of the most necessary, and most deeply personal of any of them out there. I truly mean it when I say it is unlike any film I have ever experienced. For one, it is an animated documentary. Think for a second. How many animated documentaries can you name? Few, I’m sure, if any.  But this is how Waltz with Bashir works so gorgeously and seamlessly.

I’ll try to break it down in some select areas where this film really shines.

1. Plot: This film follows Ari Folman (the director) and his attempts to try to regain his memory from the 1982 Lebanon War, as well as coming to terms with the potentially monstrous role he had to play in it. Through various interviews with friends and strangers who were there, his memory returns, but there is one key aspect he is still trying to piece together: his involvement in the Shabra and Shatila Massacre, where up to 3,500 innocent Palestinian refugees were executed. Already, this film changes and molds itself into the fabric of the viewer’s mind. We’ve seen similar struggles and stories before, but we always want closure, and an epiphany to come at the end of the long journey. We get that closure in a devastating way.
2. The Animation: If this film were live-action, it simply would not have the impact that animation is able to give. Towards the beginning, after Ari bids farewell to his friend Boaz at a bar, Ari drives to the sea where he has a vision: Two other men and himself are lying in the sea, asleep. Gradually, they wake up, and walk to shore, only to find themselves surrounded by weeping mothers and widows. This scene, and the many returns to it, are all awash in a dull yellow from flares. Live-action can’t give that same breathtaking impact. Like the title implies, this film is one extravagant waltz and dance with Folman, and the animators’ skills. They are able to conjure up simple scenes and breathe deep amounts of life into them. I just can’t describe it well enough. This is a have to see it to believe it.
3. The Soundtrack: Bravo, Max Richter, bravo! The score for this film is simply haunting. From the dream sequence at the beginning, to the vision of the ocean, all the way to the “Love Boat” before the invasion, Richter, and the score as a whole, conjures intense, and jaw-dropping accompaniment. The tracks “Boaz And The Dogs,” “Iconography,” and “Shadow Journal,” are all wonderful, but none holds up as well as that of “The Haunted Ocean.” Coupled with the “sea vision” from before, the haunting orchestra will bring tears to your eyes. Another worthy music selection to note is the excellect use of 80s pop tracks, like PiL’s “This Is Not A Love Song,” or OMD’s “Enola Gay.” All are wonderful, all are necessary.

There is so much more I feel that I must say, but I just can’t find the words to sum up the experience I had watching this now for the second time. Though I’ve watched it two times, I feel like I could watch it a hundred more soon, and a hundred more on top of that!

Please, please, please, rent and watch this film. It is a journey that stays with you long after the credits have rolled.

An absolute, unremitting,

5/5

And a Top 10 of All Time as well!

 

My Top 10 Anticipated Releases of 2018

As it’s January 5th, nothing much has been released this year quite yet. We’ve still got a lot of 2018 to get through. Therefore, the time is ripe for me to think of what I am looking forward to watch/read this new year. This list is ranked from 10 to 1 (1 being most anticipated). Hopefully all these books/TV shows/films and more can deliver this year.

10. The Post

Directed by Steven Spielberg

Release Date: January 12

For a long time Steven Spielberg has consistently turned out great films. The Post looks to be no exception. Following the controversy resulting from the leak of the Pentagon Papers, The Post seems like the right political film we need in our current country and world, and, based on reviews, it should be a great experience.

 

9. Phantom Thread

Directed by Paul Thomas Anderson

Release Date: January 19

Daniel Day-Lewis has been a favorite of mine of years. If you want an example of the finest acting from the 21st century, you need look no further than Paul Thomas Anderson’s 2007 film There Will Be Blood, in which Day-Lewis plays the frantic and violent Daniel Plainview. Other favorite characters of mine include his Abraham Lincoln in Lincoln, and Bill the Butcher in Gangs of New York. Phantom Thread seems to have the best of both Anderson and DDL. I can’t wait to fall in awe of this writer/actor duo.

 

8. The New Mutants

Directed by Josh Boone

Release Date: April 13

Deadpool and Logan proved that R-rated X-Men movies are absolutely necessary in this current climate of meh superhero films. I had no idea until the trailer came out that they were making The New Mutants, but based on the trailer, and Fox’s great production of recent superhero film, this upcoming release should be sublimely awesome.

 

7. Solo: A Star Wars Story

Directed by Phil Lord, Christopher Miller, & Ron Howard

Release Date: May 25

Yeah, I am aware of the troubled production of the upcoming installment in the Star Wars universe. Regardless of the lead actor’s apparent inability to act, and firing of the original directors, I trust that Ron Howard was able to steer the ship in the right direction. Besides, Donald Glover as Lando, Emilia Clarke as the female lead, and Woody Harrelson as Han’s mentor? Count me in!

 

6. Sicario 2: Soldado

Directed by Stefano Sollima

Release Date: June 29

It’s been a while since I watched Denis Villenueve’s Sicario, but I remember being quite impressed by the film. Based on the first trailer, Soldado will continue the dark, and brooding nature of the first film, while uping the ante with the harrowing expedition into the United States’ war on the Mexican drug cartels. It should be fiery, pounding, and leave a solid impact.

 

5. Deadpool 2

Directed by David Leitch

Release Date: June 1

Deadpool is, quite frankly, one of the funniest films I have ever seen. 99.99% of that is due to Ryan Reynolds’ wonderful performance. To put it simply, Reynolds was born to play Deadpool. The first didn’t disappoint in any way, and I am confident that Deadpool 2 can repeat the hilarious and vulgar nature of the first one. And who knows, maybe Reynolds will actually get the Golden Globe for this one.

 

4. Isle of Dogs

Directed by Wes Anderson

Release Date: March 23

Wes Anderson’s penchant for quirky characters alive in funny scenarios seems to know no bounds. The Grand Budapest Hotel was both humorous and insightful at the same time, and Isle of Dogs looks to take it to a whole new level. Especially with the stop-motion animation this film will have, I’m prepared for an adventure I will never forget.

 

3. Incredibles 2

Directed by Brad Bird

Release Date: June 15

It’ll probably be true that a majority of the audience for Incredibles 2 will be in their late-teens and early 20s. We were all little kids when this came out, and have loved it ever since. The Incredibles is one of the best Pixar films of all time, but it did leave off on The Underminer cliffhanger. This is the Pixar sequel everyone has begged for. Now, after 14 years, we will finally see The Incredibles vs. The Underminer, and I cannot wait.

 

2. The Winds of Winter (A Song of Ice and Fire Book 6)

Written by George R.R. Martin

Release Date: ???????

Alright, alright, I’m cheating with this one. Nobody knows when this book (if ever) will come out, but hey, 2018 is a new year. Hopefully Martin is in the home stretch of writing this. However, it has been 6 1/2 years since the last book, so the future likelihood looks dismal, but I believe every fan should remain optimistic. After the shaky seventh season of the little-known HBO series, TWoW may be our saving grace.

 

1. Westworld Season 2

Network: HBO

Release Date: Spring 2018

It is hard to put into words the raw and awesome impact that watching Westworld has on someone, but Season 1, in all its shock and glory, gave us merely a taste of lies ahead. The wait has been long for Season 2, but it looks to be well worth the wait. The showrunners, husband and wife Johnathan Nolan and Lisa Joy, have expressed how hard they have worked to exceed expectations of fans, plotting new twists, and keeping the events of the second season secret. I desperately hope that this next season will exceed every single one of my wildest expectations for the future of the greatest show currently on television.

Star Wars Episode VIII: The Last Jedi Review

This review has been a long time comin’, I know. Many of you already know what my opinion is, but a review is still warranted.

There be spoilers here. (But c’mon, everybody has seen it by now.)

I absolutely, positively, HATED The Last Jedi. The fans who have been saying how brilliant it is are either delusional, or are in the denial stage of grief right now. Make no mistake, this is the worst of all the Star Wars films, and yes, I’m including the prequels when I say this.

Now that I have gotten that out of the way, let’s begin.

I have loved Star Wars ever since I can remember. This is the one film franchise that I have continued to hold high even through the murky and muddled prequel trilogy. When Disney announced in 2012 that they would be making a sequel trilogy, I was cautiously optimistic. I was excited to see what would happen to the characters I had grown up loving, and how Disney would wrap up the saga. I remained optimistic because I knew that George Lucas had always wanted to create a sequel trilogy. In a interview from the 80s Mark Hamill said that Lucas told him the sequel trilogy would focus on him handing down Excalibur to the next generation, with the films being made some time around 2011. Well, we were just off a bit from that prediction. Disney eventually scrapped the story treatments Lucas had prepared, saying they wanted to go in a different direction. Alright, I can buy that. Disney didn’t want to deal with the negative fan reception that the prequels had received, so getting rid of influence from Lucas seemed to be the best course of action. When The Force Awakens came out in 2015, I loved it. Yes, I was able to realize the one-too-many similarities with the original that J.J. Abrams had included, but I was able to look past that, as I wanted to see where the story went in VIII before I made a lasting judgement. In the months leading up to the release of VIII I was very excited. On opening night a few weeks ago, the crowd was electric, all of us waiting for the resolution to the literal cliffhanger left two years prior.

The Lucasfilm logo and the opening crawl had us all reasonable ecstatic. Then, a bit of the way through the opening scene, the cringe worthy humor began. Poe Dameron makes an “on hold” joke with General Hux. I didn’t like that at all. The joke persisted for a solid 15 seconds! I understand that some humor is needed in franchise films to lighten the tension, but beating the audience over the head with it is absolutely unnecessary. Take Blade Runner 2049 for example. The film is undoubtedly serious, but does have moments of subtle humor. Subtle humor would’ve been great for The Last Jedi, but cramming puns and all sorts of stupid jokes to please Disney executives is a major fallacy.

Beyond the God awful humor that “visionary” Rian Johnson forced (ha, see what I did there?) down our throats, there is one scene where any notion of grounded realism in the Star Wars is abandoned for the dumbest moment in the entire saga. (Yes, even worse than The Phantom Menace fart gags.)

I’m talking about the moment that Princess/General/whatever-the-hell-Disney-will-call-her-next Leia takes a little joy flight in space. When the TIE fighters blew up the bridge, I accepted that she had died. It was grounded, sad, and a fitting end to her character.

Then all of a sudden she FLIES BACK INTO THE SHIP.

WHAT THE HELL RIAN JOHNSON?

In the words of the late and great Han Solo:

If this magic power existed, why didn’t the Jedi who were shot down in Revenge of the Sith use it?

Huh? Huh? Don’t have an answer do you fanboys? That’s what I thought.

After seeing Chewie in the gif up above, that reminds me: What exactly was Chewie’s purpose in the The Last Jedi? To eat porgs?

That also reminds me: Porgs. Why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, why, were they in this film? No, no, I unfortunately know the answer to that question. To sell toys. Plain and simple. They served absolutely no value in the film whatsoever.

Porgs also lead me to my next gripe: Alien-milking Hobo Starkiller, I’m sorry, I’m sorry, Jedi Master Luke Skywalker. Right from Luke’s toss of the lightsaber for a cheap laugh, I knew his character would also be cheap for everyone who wanted to know how he ended up. Luke is a wimp.

Oh, what’s that I hear? Whiny fanboys incoming?

“But, but, but, Luke’s characterization shows a broken man,” you say.

No, it doesn’t. Luke’s characterization is the result of poor writing and a coin-toss decision. Johnson never knew what to do with Luke, so he wrote a character that half-assed fans would hail as “revolutionary”, when it in fact is very lazy writing.

Why didn’t Luke try to save Ben Solo, instead of trying to kill him on a whim? Two words: Bad writing.

But hey, at least with Luke we got to see where the blue milk comes from, right? Right? Oh, okay, I’ll let myself out.

No, no, no, no, no! We ain’t done yet compadres!

Poe Dameron’s a dick. He was fine in The Force Awakens as a bravado-stoking ace pilot, but all that turns into here is a dick. He constantly berates his officers. I’m with Laura Dern’s Vice Admiral Holdo when she reprimands him for not respecting the chain of command. Look Poe, I know you’re one of the top-billed cast members, but could you please take a step back, maybe take some Prozac, and just chill for a while? Sincerely, Reed, a true Star Wars fan.

Also aboard the Resistance ship of poor characters: Rose! Rose, dear, why are you here? I know Disney loves diversity, but why does that have to come at the cost of introducing interesting, three-dimensional main characters? Rose Tico is just present as a motivation for Finn to do something, and…a love interest? Why, Disney? Finn had WAY more chemistry with Rey than with Rose!

And, that casino scene on Canto Bight. Booooooooooooooooooooooooooooooooooooooooooooooooooooo!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

All I learned from that scene is I should be nice to alien creatures. Gee wiz, thanks PETA!! Literally, that is the only point of the casino scene.

Oh damn, I here them again. The fanboy squad.

“But, this scene gave us a detailed backstory and character motivation for Rose,” they say.

No, it was just free advertising for PETA.

*Please, just donating $10 will help find a home for these alien horses*

As I have alluded to, the entire Rose-Finn-Benecio del Toro subplot is a waste of time.

Speaking of a waste of time, Captain Brienne of Tarth, I mean Phasma!

After The Force Awakens, many of us were disappointed that Phasma didn’t get her chance for bad-assery that she deserved. The Last Jedi would surely have that, right?

She’s in it for two seconds before dying an anticlimactic death. A completely wasted opportunity.

Don’t worry those of you that have lasted to this point, we’re in the home stretch.

Snoke. The guy who everyone hoped and prayed was a menacing force, and potentially a certain character from Star Wars lore, failed here too. He dies! Why!? We could’ve found out so much about him!! Instead, he died like the Emperor did, though at least the Emperor got a fully realized back story. Snoke did not. Snoke needed this! Otherwise, with his death, it isn’t grounded.

Oh no, here they come again. Worming their way into the blackness of brain.

“But, but, what about Rey and Kylo teaming up? That was pretty cool!”

Yeah, it would’ve been, if they had stayed that way. Instead, Kylo Ren went back to the archetypal baddie, and Rey to the unflinching heroine. The only good thing to come out of their arc is the Ben Swolo memes.

Oh, how this story could’ve gone away from good vs. evil, but oh how Disney executives didn’t want that to happen.

Even Luke’s force projection didn’t work. It was thoroughly unbelievable that this considerable tool had existed for millennia but had never been used by anybody on screen. Stupid.

And Finn’s near-sacrifice? That wasn’t Rose coming to save him, that was Disney executives telling everyone that you can’t kill a new good guy off quite yet.

And the end. Oh, yay! Hope has spread to the galaxy once again! Nope, we’re being suckered in to the same exact story all over again.

THIS JUST IN!!

I have the plot for Episode IX!

The Resistance will find a planet filled with porgs, and together they will destroy the First Order!! I can’t wait!

.5/5 (The ramming of the ship at light speed was the only minor good thing this film had.)

The Great Beauty Review

It is very hard to put into words my direct opinion and thoughts following The Great Beauty. It is visceral, pounding, and gorgeous. This film is an absolute ride. In the span of the first ten minutes, a tourist in Rome dies, and Italy’s high society hosts a massive birthday party for the protagonist, Jep Gambardella.

The Great Beauty follows Jep, a has-been novelist, through parties, and meanderings in present day Rome. Jep is reevaluating life, and trying to find the beauty in his world. What director Paolo Sorrentino is able to accomplish is through little flashes of brilliance dispersed throughout the film. Whether it be through flashback, or just the odd events in a certain scene, the audience is directly served the “beauty” Jep so desperately craves. The little moments make the narrative shine, and they are also the reason for my hesitance and caution with writing this review. Part of me wants to call this an absolute masterpiece, with the direction, acting, writing, and cinematography to show for it. But there is another part of me that wants to really wait before determining if it is one. Like the two Fellini films I have seen, one viewing isn’t enough. Multiple viewings with analysis are necessary.

Even after multiple viewings, I am confident my true opinion of The Great Beauty may not come to fruition, or resolve my misgivings for lauding it. But I do know that those scenes and “flashes of brilliance” will stay with me.

On the good side, Sorrentino crafts these scenes with meticulous effort, as well as with subtle details. For some films, this is not the case. I can remember when I saw Terrence Malick’s The Tree of Life. While one could argue that the film is visually gorgeous and stunning, nothing goes the right way in terms of plot. The Tree of Life is very boring, and brings nothing to the table when compared to the energy Sorrentino works with.

I’ll try to break down some of my favorite scenes:

The party scene at the beginning was my first feeling that I was watching something spectacular. It opens with a woman screaming directly at the camera and the audience, and then it cuts various people in the crowd dancing. Dialogue is kept at a minimum during scenes like this. We’re given just a hint of verbatim interaction, and the rest is left to our eyes. The party scene is also where the main character, Jep, is introduced. As a woman bursts from a Coliseum cake, she shouts a “Happy Birthday!” This is followed by a straight cut to Jep. The focus stays on Jep throughout the remainder of the scene, first with this close-up, later with an upside down shot, and finally with a selected focus on Jep. He looks at the audience, saddened, as his narration begins. He expresses his dismay for his life. The Jep on screen is silent, but he is screaming on the inside. This is followed by a cut to the title.

That was all the exposition this film needed. It accomplished more in set-up and introduction than Inglorious Basterds could in its two hour long exposition.

More scenes that come to mind in the “flashes of brilliance:”

Jep and his lover Ramona find a man who holds all the keys to Rome’s buildings. They wander through them in the middle of the night.

As Ramona tries on dresses for a funeral, Jep tells her exactly how one must act during a funeral. Then, during the funeral, he does the exact opposite, as he breaks down, weeping.

A girl is forced by her parents to show off her abstract art and creation process. She’s screaming at first, then calms to form it into a stunning image.

A dinner at Jep’s apartment quickly boils down to him berating the other high level people about the nature of their supposed unhappiness.

The flashback sequences of Jep and his long lost girlfriend.

I could go on and on about these immersive, and wonderful scenes. There are probably more I’m forgetting and more I have yet to appreciate. Accompanying these scenes are lush, splashes of color, and an guided camera work and directorial style. The acting is reserved, and matter-of-fact, but in a good way. The characters are simply milling about the Italian high life, and their respective actors portray them as such.

While I won’t give it a perfect rating, it is a masterwork. It’ll just take more time for me to observe, and truly understand it. It seems reevaluation is always necessary with these great Italian films.

Make sure you see this. You won’t regret it.

4.5/5

La Dolce Vita Review

In the opening scene of Federico Fellini’s La Dolce Vita, a helicopter flies a statue of Jesus over Rome. The film cuts to another scene in a club, and from there the viewer’s journey begins and stays. Much of the film is separated like this: snapshots that cut to a new scene with familiar characters, but still detached from the previous one. Like Fellini’s 1963 film 8 1/2, La Dolce Vita is dripping with rich imagery, as well as staggering ambition.

Through all of subliminal pieces at play, the story is focused on gossip and celebrity journalist Marcello Rubini, played by the suave Marcello Mastroianni. Rubini has grown cold, and hardened towards many near him, though he continues to swim through club after club, and party after party. After he meets Swedish-American actress Sylvia, he is taken, and rifts in his personal life truly start to come undone.

In the Rome of La Dolce Vita, Fellini has created a satirical commentary. The fascism of the 20s, 30s, and 40s, has given way to glorified and fruitless high society life. Most of the characters involved love this notion. They float through it all without a care. Even Marcello seems to adopt this sentiment, though on a hidden level, he is screaming to be let out.

Throughout the course of the film, Marcello is trying to find a higher level of happiness, hence the title “La Dolce Vita.” However, as his friend Steiner points out, the high society life, with its planning and stratification, is a nightmare, and a void. Marcello accepts this observation, but continues on with life. When he has dinner with his father, he yearns for the connection of childhood, or he’s at least invested in tales from his childhood town, while he has been living the high life in Rome. Fellini is directly critical of this new life that sprung up, and spares no reprieve for other opinions on the matter.

Another critical stance Fellini takes is the role the media began to play in this time. Sensationalism is the word for the journalists and photographers in this film, as they cover all angles of a woman learning of her the murder of her two children and suicide of her husband, to the clamoring in trying to find the perfect shot for the “Madonna tree.” In all this Fellini shows that our society has become one that just wants the next best look, no matter how horrifying and sobering the subject material is. Even the character Paparazzo is the origin of the term “paparazzi.”

The cinematography of La Dolce Vita is spectacular. From the opening shots of the helicopters, to the closing shots on the beach, each frame is stark in contrast of black and white. When Marcello becomes furious and irritated, the focus as well becomes blurred and irritated, adding to the emotion packed into the scene.

The camera movement, as well as Fellini’s direction is restrained for a majority of the film, and comes alive at certain moments. In this sense, the film isn’t as captivating and wondrous as the imagery evoked in 8 1/2, but the feeling of seamless fluidity in the world of Marcello’s Rome is ascertained as the story progresses.

La Dolce Vita works well as a commentary and criticism on the aforementioned subjects, but Fellini’s restrained methods and plodding of a thematic climax do hinder the film’s potential greatness. As the true nature of the criticism becomes abundant in the final scenes, multiple viewings are absolutely necessary.

3.5/5

Star Wars Episode IV: A New Hope Review

I can’t think of any other film that has been more formative in my life than Star Wars. It is one of the first films I remember watching, and it has stuck by me for all my life. Star Wars has been the cornerstone by which I have seen the standards of film heroics and villainy, adventures and destiny. I will cherish this film forever.

Of course, much has been written, filmed, and discussed about how this film changed the landscape of cinematic storytelling. Most of that focus has attested to the strong, visionary special effects that formed from Star Wars, but the story itself is where the praise must be directed.

Lucas has said himself that he drew influence from Joseph Campbell, and his theory on the “heroic quest.” The film’s story follows that exact quest, with some elements branching off into the fifth and sixth episodes. Luke Skywalker is a farm boy that finds the call to adventure. Through that call to adventure, the wise figure (Obi-Wan Kenobi), and more side characters are brought along to create the journey. In this sense Star Wars works miraculously. By taking a simple, universal story, the appeal of the worlds Lucas has created are universal as well.

Star Wars also introduced the world to the likes of Darth Vader, Han Solo, Chewbacca, C-3PO, R2-D2. These characters and more push Star Wars further to a legendary realm. All characters play off one another with life, and vibrancy, allowing for the film to bring characterization to the forefront alongside the monstrous special effects.

Success is simply an understatement of what this film has been able to accomplish in the minds of millions around the world. It’s continuation through the prequel and sequel trilogies, as well as the countless toys, books, video games, are evidence of this lasting adoration and appeal.

Some may say that Star Wars changed the film industry for the worst by bringing the focus to blockbuster hits. Star Wars shouldn’t be to blame for other studios and directors investing time in science fiction and action films that are sub par in plot and direction. Star Wars merely introduced a concept for a new kind of storytelling, not one that should be the only direction of film making for the future.

If there is one negative to the evolution of Star Wars, it is in the incessant changes George Lucas felt were absolutely vital to include. Brushing up some areas with CGI is fine, but extending sequences to fit in poorly rendered, and out of place aliens shouldn’t be a priority for altering a classic. If Disney and Lucasfilm were to release a version of the original trilogy that removed most of Lucas’ changes, the public would show immense appreciation. We all want the story, not a bastardized version that continues to trudge along.

Star Wars, if it can be boiled down to statements, is brilliant. It will forever remain a favorite for generations and millions. It is visual storytelling at its finest.

5/5

Rogue One: A Star Wars Story Review

From the promotional material that preceded the release of Rogue One, we were promised a new kind of story telling in the Star Wars universe. The story of the capturing of the Death Star plans would be stark, and brutal. However, during the months leading up to the release, re-shoots were ordered by Disney executives, allegedly to make the film more humorous. However, when all is said and done, the finished product is quite spectacular.

Rogue One tells the story of how the Rebel Alliance stole the plans to the Death Star. Though the ending is spoiled by the opening crawl of Episode IV, the details were not mentioned, and thus opened the door for a wide range of narrative possibilities. Intertwined in this plot are new looks at the Force, the Empire, and everything in between.

One of the main elements that caught my eye from the start was Rogue One‘s acknowledgement of the Force, but from a purely spiritual standpoint. This is evidenced by the Temple of the Whills. Guarded by Chrriut Imwe, and Baze Malbus, the Force is an object of concentration. Neither light nor dark is discussed, but its presence is key for character motivation. If there is one thing good about Disney’s revival of Star Wars, it’s in the nuanced interpretation of good and evil.

The worlds created (and destroyed) in the film are great technological feats. The planets of Jedha, Eadu, and Scarif evoke the greatest aspects of the original trilogy, while remaining at a distance. An authentic feel comes forth, one that allows for the events of the film to transpire cleanly. Disney’s venture to steer away from the look of the prequels is admirable, and it has worked in the two films released thus far. The practical effects work to perfection, and the classic aesthetic remains.

The acting in Rogue One comes at a bit of a misstep. Emotions and lines aren’t forced, but no care seems to be given to ensure that the best potential acting can result. Part of the film’s life is lost with this ignorance. Felicity Jones mainly has this misstep due to some poorly written dialogue, while the rest are just moving along.

The re-shoots to add “humor” also fell short. The droid K2SO, who aids Jyn Erso, and Cassian Andor & co. to find the Death Star plans, is the one who cracks the most jokes. This is fine for a bit, but when all the lines coming from one character are sarcastic wisecracks, the validity of that character is quickly thrown to the side. Edwards should’ve stuck to his original assertions of making Rogue One a dark journey, unlike anything we’d seen before.

Another aspect of criticism for many in the film was the inclusion of Grand Moff Tarkin, and Princess Leia. Both characters are portrayed in full CGI. I actually liked the inclusion of both characters. Rogue One would’ve been lost if it weren’t for their appearances.

Another character inclusion that is worth mentioning is Darth Vader. Though his appearances are brief, Vader brings fans what they have been wanting to see for decades. In doing so, the stakes are raised, and the stage is set for A New Hope.

I also commend director Gareth Edwards for deciding to make a “sad ending.” Apparently, Edwards wasn’t sure if Disney executives would approve of a dismal ending, but they did, and the result is fulfilling.

Rogue One, though the first live action spin-off Star Wars film, shows that Skywalkers and Jedi aren’t needed to create a memorable tale in the far, far away galaxy.

3/5

Star Wars Episode III: Revenge of the Sith Review

Episode III is, by far, the best of the prequel trilogy. Granted, it doesn’t take much to be better than I and II. All three films have fatal flaws, but Revenge of the Sith has the least. While rampant CGI still takes center-stage, the final steps are taken to complete story lines in satisfying ways.

Hayden Christensen’s acting, while still sub-par, is better than in the previous installment. His mannerisms and lines don’t seem forced. In seeing this, his costars are able to act better, and scenes aren’t filled with awkward pauses or actors forcing themselves to interact. Some bad moments come and go, but the result isn’t as cringe worthy as Episode II.

The action scenes in III are some of the best in the entire saga, the Battle of the Heroes, and the opening sequence bearing evidence. The politics of the first two episodes are dialed back, allowing for the roots of the series to take hold, instead of bogging down the narrative with mindless subplots (though one could argue against this with Obi-Wan’s side quest), the film focuses on tracing Anakin’s submission to the dark side.

Unfortunately, Anakin’s submission to the dark side seems rushed. Though we saw elements and hints of it in scenes from Attack of the Clones, the execution of it in Revenge of the Sith doesn’t work to fully transition the whiny Anakin of the prequels into the badass Darth Vader from the original trilogy. The transition is in pieces, when the full of it should’ve been gleaned from all three films. On that level, this film doesn’t work to fully cap the birth of Darth Vader. Lucas wrote the film to show Anakin going to the dark side primarily to save Padme, but that notion seems forced as well.

Another element that doesn’t pan out is the inclusion of General Grievous. His screen time is minimal, and while threatening, merely acts as an obstacle and subplot villain for Obi-Wan to be distracted by. All three prequel films had wasted villains. Phantom had Darth Maul, Clones had Count Dooku, and Sith had Grievous. All three are on screen briefly, and have minimal roles, but take up a majority of the plot just to get to a fight sequence or a reveal. The entire prequel trilogy didn’t have one upfront villain (Palpatine was behind the scenes for most of it), and viewer interest would be sure to stray.

The “execute order 66” scene is very choppy as well. Though interesting in concept, all the Jedi die unbelievable deaths. A couple of clone troopers shouldn’t be enough to take down a majority of the Jedi. What should have been a somber scene, turns into a slightly humorous moment. Had Lucas included Sith users to challenge the Jedi Masters, a better montage would’ve resulted.

As stated before, the absolute high point of Revenge of the Sith is the closing duel between Obi-Wan Kenobi and Anakin Skywalker. Affixed against the volcanoes of Mustafar, the two battle it out in the best lightsaber duel in the series. Although logic does come into question (“I have the high ground!”), it is a satisfying culmination in tension between master and apprentice.

The final scenes of Obi-Wan, Yoda, and Bail Organa are great in execution of setting up the plot lines of the original trilogy. And, as Disney plans on making an Obi-Wan anthology film in the near future, Lucas provides a potential avenue to explore: Yoda tells Obi-Wan that he will train him on how to contact the force ghost of his deceased master, Qui-Gon Jinn. Having this exploration into a new aspect of the Force would been very interesting for a new story. Hopefully, Ewan McGregor will reprise his role.

Overall, Revenge of the Sith succeeds at concluding a rocky trilogy. While all the minute details may be clumsy and illogical, set-up was the main goal of this film, and it worked. All story lines, from the final duel, to the birth of Luke and Leia, form to lead in well to the original trilogy.

2.75/5