DeNiro, Pesci, Liotta... if you like your American gangster films it's highly likely that you've enjoyed this film. This is another that I own so I'll cop to lots of bias here but I do think it's a little more highly rated than I might think it deserves. Still, who can forget Pesci's "I make you laugh? You think I'm funny?!" scene? Honestly, I don't think it is better than some of the films lower on the list. There, I said it. Now I just hope Ray Liotta doesn't show up at my doorstep ready to do a tapdance on my head.
That said, it is deserving of a place on the list if only for the fact that it is a very powerful film that simultaneously pays tribute to the Godfather franchise while adding its own modern twists. It also, in my opinion, deserves a place if only for being arguably the model upon which the Sopranos television series would later be based.
Getting back to the film, one of the elements that always surprises me upon watching it is how the music of the soundtrack plays a prominent, mood-setting role. It is so very up front that at times it seems nearly confrontatonal, for lack of a better term. It is as if nearly every new scene or mood shift in the film is clearly demarcated by some new song. I think this is one of the few films that I saw early one in which I literally felt anxious and almost uncomfortable throughout. If there is any movie that creates a sense of waiting for the other shoe to drop, it is this one (for the record, I think Hoffa is another example of this even though we pretty much know how that will end from the very beginning).
At any rate, despite some misgivings about its placement amongst the competition, I give it 4.5 "You think I'm funny?!"s out of 5.
Wednesday, October 22, 2008
AFI Film #90: Swing Time
This film is a great, even iconic, look at the mystique that is Fred Astaire and Ginger Rogers. Plus, for my low-brow ass, the comedic moments remind me of the things I loved out of old episodes of the Three Stooges and Our Gang.
Overall, the film absolutely oozes style. There's little one can say about Astaire's presence on the stage and screen beyond how remarkable he is in a role such as this. Plus, we get to hear him sing "The Way You Look Tonight". So, yeah. There is a reason when people in popular media refer back to the "classic style icons" of an earlier era like this and this movie exhibits exactly why.
In the film itself, each scene seamlessly flows together even though the editing techniques of the time leave something to be desired with what we're used to these days. Aside from that minor gripe, the film is put together in such a way that the natural ebb and flow seems readily apparent yet hardly noticeable as any good film should do, especially with regard to proper pacing.
Now, honestly, I hedged a lot on finally sitting down to watch this movie but again I found myself borderline enthralled and utterly charmed. I think watching something like this and enjoying it this much reveals to me just how much of an utter romantic I tend to be. C'est la vie.
4.5 dances m'dear out of 5
Overall, the film absolutely oozes style. There's little one can say about Astaire's presence on the stage and screen beyond how remarkable he is in a role such as this. Plus, we get to hear him sing "The Way You Look Tonight". So, yeah. There is a reason when people in popular media refer back to the "classic style icons" of an earlier era like this and this movie exhibits exactly why.
In the film itself, each scene seamlessly flows together even though the editing techniques of the time leave something to be desired with what we're used to these days. Aside from that minor gripe, the film is put together in such a way that the natural ebb and flow seems readily apparent yet hardly noticeable as any good film should do, especially with regard to proper pacing.
Now, honestly, I hedged a lot on finally sitting down to watch this movie but again I found myself borderline enthralled and utterly charmed. I think watching something like this and enjoying it this much reveals to me just how much of an utter romantic I tend to be. C'est la vie.
4.5 dances m'dear out of 5
Sunday, October 12, 2008
AFI Film #94: Pulp Fiction
I cannot be objective about this film. It opened the eyes of the many who didn't latch onto Tarantino from True Romance or Reservoir Dogs. It resurrected John Travolta's career. It gave us the genius of Samuel L. Jackson before people started just calling him "Sam" and he ran into those snakes... on that plane, before he was a Jedi. Ving Rhames, Bruce Willis, and Harvey Keitel are amazing. It's arguably even Quentin's best performance on-screen. Then there's Uma Thurman, Tim Roth, Steve Buscemi, Eric effing Stoltz, Amanda Plummer and Rosanna Arquette.
The script is so eminently quotable that there are pieces of it that have arguably entered into the daily lexicon of many people.
So, yes, I'm a fan... and I still wonder but don't want to know what was in the briefcase.
5 combination 666's out of 5
The script is so eminently quotable that there are pieces of it that have arguably entered into the daily lexicon of many people.
So, yes, I'm a fan... and I still wonder but don't want to know what was in the briefcase.
5 combination 666's out of 5
Wednesday, October 8, 2008
AFI Film #91: Sophie's Choice
"I need you like a case of Anthrax." And thus we are introduced to our title character played by Meryl Streep. Of course, the line is uttered by her lover, played by Kevin Kline. Peter MacNicol plays the couple's neighbor who is newly arrived to New York and observes their relationship with a wary eye.
I must admit to finding the librarian's behavior in that particular scene absolutely disgraceful... and stereoptypical. At any rate, the core of the film is built around Sophie's story. We get an eye-ful of her past as well as her present, choices she has to make, of course, otherwise, why the title? Neryl Streep does a fantastic job in this as do MacNicol and Kline but, and you knew that was coming, I just had all kind of problems engaging with the film.
It's a wonderful exhibit of acting and a rich, intense story but it just wasn't something I was really able to immerse myself in for whatever reason. That said, the slow build towards the climax of the film is actually quite worth the pay-off. So, while I was unable to really sink into the film, I can admit to its merits for inclusion on the list and admire the work done throughout.
One point that I found to be quite interesting is that the least complex character in the entire film is that of MacNicol. We are severely limited in what we find out about the Southern interloper in Sophie's world while we are exposed to the extensive history of she and her lover. We learn a lot about his character, don't mistake that, but nowhere near the level of the traumatic dilemmas faced by Sophie and Nathan. I found it interesting to be able to clearly notice and distinguish this mechanism at work in the film.
There is a certain subtlety and depth to this film that is often hard to enjoy or perceive in more recent movies and, arguably, in most. This is something that once could watch several times and gain some new insight from every time. My lack of enjoyment of it comes more from disengaging from the story whereas I found myself more inclined towards examining the methods themselves.
In the end, I give it 4 polska kielbasas out of 5.
I must admit to finding the librarian's behavior in that particular scene absolutely disgraceful... and stereoptypical. At any rate, the core of the film is built around Sophie's story. We get an eye-ful of her past as well as her present, choices she has to make, of course, otherwise, why the title? Neryl Streep does a fantastic job in this as do MacNicol and Kline but, and you knew that was coming, I just had all kind of problems engaging with the film.
It's a wonderful exhibit of acting and a rich, intense story but it just wasn't something I was really able to immerse myself in for whatever reason. That said, the slow build towards the climax of the film is actually quite worth the pay-off. So, while I was unable to really sink into the film, I can admit to its merits for inclusion on the list and admire the work done throughout.
One point that I found to be quite interesting is that the least complex character in the entire film is that of MacNicol. We are severely limited in what we find out about the Southern interloper in Sophie's world while we are exposed to the extensive history of she and her lover. We learn a lot about his character, don't mistake that, but nowhere near the level of the traumatic dilemmas faced by Sophie and Nathan. I found it interesting to be able to clearly notice and distinguish this mechanism at work in the film.
There is a certain subtlety and depth to this film that is often hard to enjoy or perceive in more recent movies and, arguably, in most. This is something that once could watch several times and gain some new insight from every time. My lack of enjoyment of it comes more from disengaging from the story whereas I found myself more inclined towards examining the methods themselves.
In the end, I give it 4 polska kielbasas out of 5.
Tuesday, October 7, 2008
AFI Film #95: The Last Picture Show
This film boasts an outstanding cast with Timothy Bottoms, Jeff Bridges and, Cybill Shepherd doing most of the heavy lifting in addition to several actors in supporting roles who do equally well. It's set in a small Texas town where teens coming of age have little to do and questionable desire to do, well, much of anything at all beyond living, having sex, and getting out of high school.
I should note some of those supporting roles. Randy Quaid, Ben Johnson, Cloris Leachman, Ellen Burstyn, Eileen Brennan, and Sam Bottoms are among those who bring color the story.
Now, for a few criticisms: Bottoms, Bridges and Shepherd as high school age (granted they were fairly close by Hollywood standards at 20, 22, and 21 when the film was released). There's also, in my opinion, a typical McMurtry lean towards emphasizing sex. It is often as if he wrote with the intention of bringing sex up or creating random sexual tension whenever possible. I realize that this is part of the point of this movie but I had moments where I felt it was more tedious than anything else. However, that said, the tension and anxieties of getting old and getting laid have always been integral to any coming of age story, of which this is a quintessential example.
Watching this film for the first time I can't help but compare it to the work McMurtry did on Brokeback Mountain, which certainly echoes the relationship between Bottoms and Bridge. It also calls to mind the Outsiders and any other number of films/books that tackle, particularly the American, coming of age story.
3.5 McMurtry's out of 5
I should note some of those supporting roles. Randy Quaid, Ben Johnson, Cloris Leachman, Ellen Burstyn, Eileen Brennan, and Sam Bottoms are among those who bring color the story.
Now, for a few criticisms: Bottoms, Bridges and Shepherd as high school age (granted they were fairly close by Hollywood standards at 20, 22, and 21 when the film was released). There's also, in my opinion, a typical McMurtry lean towards emphasizing sex. It is often as if he wrote with the intention of bringing sex up or creating random sexual tension whenever possible. I realize that this is part of the point of this movie but I had moments where I felt it was more tedious than anything else. However, that said, the tension and anxieties of getting old and getting laid have always been integral to any coming of age story, of which this is a quintessential example.
Watching this film for the first time I can't help but compare it to the work McMurtry did on Brokeback Mountain, which certainly echoes the relationship between Bottoms and Bridge. It also calls to mind the Outsiders and any other number of films/books that tackle, particularly the American, coming of age story.
3.5 McMurtry's out of 5
Friday, October 3, 2008
AFI Film #96: Do the Right Thing
Spike Lee's iconic urban film Do the Right Thing is a gritty look at the undercurrent of racism that was being dealt with, all over America, really back in the late 1980s and early 1990s. Some of the most visible incidents that come to mind include Howard Beach in 1986, the Tawana Brawley rape in 1987, and later the death of 16 year-old Yusef Hawkins in Bensonhurst in 1989.
The film has one of the mothers of all ensemble casts. Let me just ramble off some of the notable names and solid performers: Ruby Dee, Ossie Davis, Danny Aiello, Giancarlo Esposito, Rosie Perez, Samuel Jackson, John Turturro, and the list goes on.
One of the things I've always loved about the movie is that it comes across as an embodiment and portrait of the NYC environment of the time. I think Spike Lee provides a provocative time capsule look with just enough comic relief from time to time to keep the film from becoming oppressive. The film works even now as a conversation piece to re-consider the dialogue about racial issues in this modern era. Throw in the fact that this features so many strong individual performances and it really is a modern classic that would eventually open up an entirely new genre in many ways, paving the way for more films that would provide an even closer look at modern social issues like this.
Some might also enjoy noting the many nods the film has received in popular culture, whether it is in the form or any number of shows like Futurama or King of the Hill to In Living Color or Martin, the film touched a nerve strongly enough to remain poignant even today.
5 Sal's slices out of 5
The film has one of the mothers of all ensemble casts. Let me just ramble off some of the notable names and solid performers: Ruby Dee, Ossie Davis, Danny Aiello, Giancarlo Esposito, Rosie Perez, Samuel Jackson, John Turturro, and the list goes on.
One of the things I've always loved about the movie is that it comes across as an embodiment and portrait of the NYC environment of the time. I think Spike Lee provides a provocative time capsule look with just enough comic relief from time to time to keep the film from becoming oppressive. The film works even now as a conversation piece to re-consider the dialogue about racial issues in this modern era. Throw in the fact that this features so many strong individual performances and it really is a modern classic that would eventually open up an entirely new genre in many ways, paving the way for more films that would provide an even closer look at modern social issues like this.
Some might also enjoy noting the many nods the film has received in popular culture, whether it is in the form or any number of shows like Futurama or King of the Hill to In Living Color or Martin, the film touched a nerve strongly enough to remain poignant even today.
5 Sal's slices out of 5
AFI Film #98: Yankee Doodle Dandy
This musical bio-pic about Broadway icon, George M. Cohan, is an interesting departure from the other films I've watched on the list so far. Now, this is the part where I willingly admit to not being the biggest fan of musicals so the notion of a musical about a man who was a catch-all creator of musicals instantly lowered the bar of my own expectations. Essentially, watching this is precisely why I took up this project: to make myself sit down and earnestly watch films, some of which I never would have done in the past, and to look at them as objectively as possible.
At the same time, I was always a pretty big fan of James Cagney so that made it easier and, honestly, he puts in one helluva performance all things considered. Also, while I think you could classify this movie as a musical it is also a very strong biographical look at the subject. Often times, it does this with such a deft touch that it proves quite enthralling. Walter Huston, Joan Leslie and Richard Whorf also turn in very strong performances.
Overall, I have to say I was very surprised how much I enjoyed this film. It occasionally made me think of the Howard Hughes bio-pic, the Aviator, though I do think that this film is much stronger without a doubt. It never loses sight of who the story is about and it refuses to sink into some of the more typical musical film traps which, in retrospect, shouldn't have been surprising considering the attempt to mimic Cohan's talking approach to much of the music.
One other thing I think should be noted is that we currently sit a few weeks away from the 2008 Presidential Election. Debates are ongoing and the time for the people to direct their own path nears. With that as a bit of the psycho/sociological back-drop, it causes the film to have an increased relevance.
So, yeah, 4 Broadway numbers out of 5.
At the same time, I was always a pretty big fan of James Cagney so that made it easier and, honestly, he puts in one helluva performance all things considered. Also, while I think you could classify this movie as a musical it is also a very strong biographical look at the subject. Often times, it does this with such a deft touch that it proves quite enthralling. Walter Huston, Joan Leslie and Richard Whorf also turn in very strong performances.
Overall, I have to say I was very surprised how much I enjoyed this film. It occasionally made me think of the Howard Hughes bio-pic, the Aviator, though I do think that this film is much stronger without a doubt. It never loses sight of who the story is about and it refuses to sink into some of the more typical musical film traps which, in retrospect, shouldn't have been surprising considering the attempt to mimic Cohan's talking approach to much of the music.
One other thing I think should be noted is that we currently sit a few weeks away from the 2008 Presidential Election. Debates are ongoing and the time for the people to direct their own path nears. With that as a bit of the psycho/sociological back-drop, it causes the film to have an increased relevance.
So, yeah, 4 Broadway numbers out of 5.
AFI Film #93: The French Connection
It's Gene Hackman as Popeye Doyle! It's a bunch of people chased and chasing around for nearly 2 hours! And did I mention that it has Gene Hackman early on in the film in a Santa suit chasing down a dope dealer? And, and, and... his partner killed a shark! Okay, so Roy Scheider did that in Jaws but still!
In all seriousness, though, the re-telling of a true story and the fact that the film was the first actual MPAA R rated film to win an Oscar says something for its historical merit for, not only its genre, but also the overall canon of film. Culturally, the film and its iconic car chase scene continue to pop up from the Simpsons to Batman Begins to the video game, Grand Theft Auto 4, and even motivated the car chase scene in the classic 1980 John Belushi and Dankroyd film, the Blues Brothers.
On a pop cultural level, it provides an almost quaint look at a world that, in order to keep pace with modern viewing expectations, continue to delve deeper into slickly looking deeper and deeper into the underbelly of its subject matter. One thing that catches my attention is that for a 37 year old film, going back and watching the way it lays out the narrative with two parallel storylines, switching between the smugglers and the cops.
A key ingredient for a film like this, and indeed for most on this list, is that they hold up over time. The French Connection definitely holds up and while I admit to enjoying it, I can say that in the realm of personal preference I think the genre itself has gotten stronger over the years. It is well deserving of its place in film lore because of the excellent action and acting by Hackman and the "villain", Fernando Rey, as well as the compelling story line. It's yet another film that I've been able to revisit since starting this little project and I think it would be well worth most peoples' wile to do likewise.
4 Pontiac LeMans out of 5
In all seriousness, though, the re-telling of a true story and the fact that the film was the first actual MPAA R rated film to win an Oscar says something for its historical merit for, not only its genre, but also the overall canon of film. Culturally, the film and its iconic car chase scene continue to pop up from the Simpsons to Batman Begins to the video game, Grand Theft Auto 4, and even motivated the car chase scene in the classic 1980 John Belushi and Dankroyd film, the Blues Brothers.
On a pop cultural level, it provides an almost quaint look at a world that, in order to keep pace with modern viewing expectations, continue to delve deeper into slickly looking deeper and deeper into the underbelly of its subject matter. One thing that catches my attention is that for a 37 year old film, going back and watching the way it lays out the narrative with two parallel storylines, switching between the smugglers and the cops.
A key ingredient for a film like this, and indeed for most on this list, is that they hold up over time. The French Connection definitely holds up and while I admit to enjoying it, I can say that in the realm of personal preference I think the genre itself has gotten stronger over the years. It is well deserving of its place in film lore because of the excellent action and acting by Hackman and the "villain", Fernando Rey, as well as the compelling story line. It's yet another film that I've been able to revisit since starting this little project and I think it would be well worth most peoples' wile to do likewise.
4 Pontiac LeMans out of 5
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