Hector A. Ruiz

MBA, Project Manager, Tennis Player, Musician, and Author of "How to Destroy a Country"

Category: Movies and TV/Steaming Series

Star Wars: The Force Awakens

What can one say about a movie that has been in the works for more than ten years? For 32 years to be precise. What is there to say about the continuation of The Return of the Jedi, and the Original Star Wars Trilogy? Believe me: there is not much good to say.

Let me start by stating that my expectations were pretty low on this, to the point of considering The Force Awakens a success, if its quality was slightly better than The Phantom Menace (the infamous Episode I). Now as I sit and write this, I can say it was a good thing that I set the bar pretty low, in terms of Star-wise speaking. So, here goes my full review of The Force Awakens with spoilers include.

The Force Awakens is actually a good movie and I could even rate it as a very good one, if (and that is a huge conditional if) you remove it from the Star Wars universe. The problem is, The Force Awakens is part of the Star Wars universe. Therefore there are two angles to this review: one in which you remove TFA from Star Wars’ universe and it is actually turns out to be very good film with a good plot, good acting, good editing, characters that are involving and who are easy to relate to from an audience standpoint, good soundtrack, and everything else. So what is the problem with TFA then? I have two major concerns which I believe are its greatest flaws, and I have one minor concern, which I would gladly concede given that it is so hard to produce the perfect product that everyone was expecting with this film. So let me get into each one of them one at a time.

My first major concern: Killing Han Solo.

I am not who came up with this idea. Some say it was Harrison Ford himself, others say it was Lawrence Kasdan. The point is: why kill off the best character of the series -the most witty, the clever one, the scroundrel, the most likeable-, but more importantly, the best actor of the series? It probably would have been more believable, more dramatic and more intense to kill off Leia. Why? Because she’s a woman, she’s Kylo’s mother, she’s fragile, she’s related to Luke, she was meant to be a Jedi, and dozens of other reasons.

Killing Leia would have had a huge impact on the audience. Plus let’s face it, Carrie Fischer’s presence is not on the same level as Harrison Ford’s. The few minutes Fischer was on screen as Leia, the movie felt dragged and its plot moved at a dull pace. On the contrary, every time Harrison showed up on screen, he basically stole the show. Writing about it now, maybe that is why they killed him: because he would carry more interest than any of the other characters in the film, especially the new ones. This means that killing him was a business decision, and not an artistic decision.

There are other problems with Solo’s death of course, the most obvious being that the minute Solo stepped foot on that platform, everyone knew what was going to happen. It was all a question of how. Killing Leia instead would have been completely unexpected, out of the line, daring and surprising. It could have also left the door open to bring her back on Episode VIII as ghost. Han’s death instead felt rushed, predictable and unsurprising. Snoke already hinted that Kylo had to kill his father due some issues we are never aware of. This also creates another problem: the fact that it seems as it’s a norm in all films of the franchise to leave interesting context without any explanation, and simply not to talk about it. This is why having Leia meet Kylo as a mother to try to “bring her son home” would have been more effective. But then again… business above art, and Star Wars stopped being an art a long time ago.

My second major concern: Kylo Ren as a villain.

I am not really sure what happened here.

He started off great – menacing as anyone could picture a sith could be: heartless, capable and ruthless. He kind of feels what Anakin Skywalker should have been in the prequel trilogy: a young gifted force user who could not control his emotions and fell to the temptations of the dark side. That is how I pictured a young Vader, back when I watched the original trilogy.

The issues here begin with Kylo initially looking more menacing and intimidating than Vader ever was on Episode IV. But then somehow throughout the movie he kept continually forgetting the powers he had displayed on the first scenes, where we see him stop laser shots in mid-air, force-choke people, use mind force control, use telekenesis effectively, and in essence do anything you could imagine a dark side force user could do. By the end of the film, he looks like a trainee who had just started to get familiar with the force about a week ago, to the point where he almost loses a duel against a regular stormtrooper/janitor, and is immediately and easily defeated by the a teenage girl who had literally just became familiar with the force hours before facing him.

Speaking of these duels, ever since the original trilogy I had always believed that only Jedis / Jedi trainees could handle lightsabers. I will specifically point to the Empire Strikes Back scene where Han Solo rescues Luke during the snow storm. If you recall the scene, you will notice that he holds and ignites Luke’s lightsaber, however he looks uncomfortable holding it and it seems that there is something in particular with the weapon that he is unable to control. Maybe it was or felt to heavy, or maybe the raw energy coming from it generated pressure on him… who knows. The point is: the scene shows that Han and a lightsaber weren’t compatible, as in common humans and lightsabers weren’t compatible. I have always liked that little gem from the film, because it is one of those pieces of information the film feeds you without giving much detailed explanation. So unlike Luke who right from the first time he handles one -in Episode IV after meeting Ben Kenobi-, Han looks awkward with a lightsaber in his hand, probably because he wasn’t force sensitive person and lacked the natural abilities to handle it, unlike Luke. Now, in The Force Awakens, any stormtroopers/janitors or scavengers can hold and use lightsabers in an effective way. They can also defeat someone who has been training for years.

Then you have the mask. It seems like the mask was there only to hide a childish young man with serious anger issues. When Darth Vader was unsatisfied with the progress, he killed the soldiers and admirals in a cool and threatening manner. Kylo however destroyed his own computer instead. Personally, I didn’t have a problem with the mask, but I felt it was an unnecessary accessory. It probably would have been a better idea to initially show him without it, then have him put it on to transmit to the audience the aspiration he had of fulfilling his grandfather’s path towards the dark side, and keep the audience engaged between the revelation of apprentice versus leader he wanted to transmit. Instead, the mask is used as an intimidation device, which was only effective for as long as it is worn. Once removed, the aura of invincibility is gone.

Then we have my minor concern.

Do we really need more of lead female teen heroes ?

I am not anti-feminist, but the lead female teen hero thing is getting a bit old. I guess it is as it’s a matter of taste, however Daisy’s Rei is certainly no Mark’s Luke.

The rest of the movie can be discussed at lengths, highlighting points like:

  • The beginning felt rushed. It seemed like an internal battle was taking place in the movie itself, rather than going for a slow introductory character development.
  • The main weapon: a death star on steroids -which ironically was easier to destroy than its predecessors-.
  • The jokes were fine, however most of them were unnecessary, especially those where Finn was involved.
  • The supreme leader looked more like Lord Voldermort -which kind of makes sense since Kylo looked like Snape-.
  • Having parts from both the back and main story without any background or explanation felt cheap. In the original trilogy, this was briefly done on very punctual occasions, because the objective was to allow the audience’s imagination to fill the holes for the story, mostly because they weren’t interesting or relevant to the plot. In The Force Awakens however, these holes are interesting and relevant to the plot. Despite this overall, it seemed like the movie simply did not want to focus on anything interesting related to the story, such as explaining how Kylo was seduced by the dark side, what were his issues with Han, why did Luke fail as a trainer, and how did the orange thing find Luke’s / Anakin’s original lightsaber. It seems like the producers need to take lessons from Christopher Nolan, or at least should be forced to watch Batman Begins before embarking on a project of such magnitude as this one.
  • I liked how the old characters were slowly introduced and not thrown in all of a sudden. Han/Chewie’s first appearance felt a bit forced, but it didn’t bother me too much. Like I said, Harrison is such a good actor, he eventually took over his part so well. You just can’t dislike him at all.
  • And then finally of course, you have that horrible feeling of having seen a remake of Episode IV.
  • …and of course, last but not least, the Stormtroopers’ blaster aiming hasn’t improved in 30 years.

So where does The Force Awakens stand against the original trilogy and the prequel trilogy? Well, it has no chance against any of the original films. Against prequels, it’s a more difficult judgement:

Time is making The Phantom Menace disappear into the depths of oblivion, thanks to Jar-Jar Binks, Jake Lloyd, and an uncharismatic Liam Neeson. The Force Awakens is better than The Phantom Menace by a longshot.

Attack of the clones had too many Titanic-alike scenes, and then of course there is Hayden’s wooden acting. Combine that with the boring politics and questionable plot decisions, and the result is obvious. The Force Awakens is better than Attack of the clones.

Revenge of the Sith was a complete disaster, with so much going on about everything, yet somehow managed to be the best of the prequels (not that it was too difficult). At this time I will say The Force Awakens is better than Revenge of the Sith. Like I mentioned a few paragraphs above, Kylo Ren felt more fulfilling as a villain than Anakin Skywalker. Also, not even Samuel L. Jackson could top Harrison Ford.

Overall, The Force Awakens is better than all the prequels, mostly because it is a safe bet. It’s a soft-reboot that has a better molding and a better setup than any of the prequels ever did. Still, this does not save it from having some questionable dialogue, like when the supreme leader Snoke says: “Bring Kylo Ren, I must complete his training.” Well no @#$% ! He almost got his ass kicked by a stormtrooper/janitor, and he was soundly defeated by a teenage girl. You are damn right he needs more training! And he also needs therapy to fix his anger issues.

The only remarkable thing this film achieved was the shattering of all the box-office opening weekend records, which makes for a successful ROI to everyone involved in setting up the high expectations true fans had on getting a great Star Wars movie… one we have been waiting for 32 years, which by the way, we are still waiting for.

In a nutshell, The Force Awakens is a glorious victory for Hollywood as a business model, and a sad defeat for all true film makers and fans.

HR

Duck Soup

“Take two turkeys, one goose, four cabbages, but no duck, and mix them together. After one taste, you’ll duck soup the rest of your life.” That’s the explanation that Henry “Groucho” Marx gave for the title of the 1933 Marx Brother’s gem.

Duck Soup is slightly over 80 years old, yet it’s a very refreshing and brilliant film by any standards. It is a testament that sometimes you can make people laugh without sex jokes, fart jokes or puking gags -not that I have anything against it, but it does get a little old at times, especially if it’s overused-. Duck Soup relies on all four Marx Brothers at what they do best to make audiences laugh.

Duck Soup is set in Freedonia, a country in high debt that is also the target of a revolution secretly sponsored by its rival neighbor Sylvania, particularly by its Ambassador in Fredonia -Mr. Trentino- who intends to marry Mrs. Teasdale, a wealthy Freedonia socialite who in the very first scene of the film lends $20 million dollars to Freedonia’s government under the condition that controversial Rufus T. Firefly -played by Groucho- is appointed leader of the country. In Duck Soup Groucho delivers one of his best performances: he is hilarious and always on the spot with his well-timed one-liners, as he tries to cope with an inept cabinet, a Secretary of Defense who happens to be a Sylvanian spy, his personal driver -who always takes off without him-, and a Personal Secretary who has to mail Firefly’s dentists checks but without actually enclosing the checks.

The movie is filled with memorable moments. During one particular scene in which Firefly courts the wealthy Mrs. Teasdale, he says to her: “Married. I can see you right now in the kitchen bending over a hot stove. But I can’t see the stove.” Another of my favorite moments occurs in court when Firefly is interrogating Chicollini -his Secretary of Defense- who is being tried for treason. Frustrated with his witness’ lack of intelligence at answering the most basic questions, Firefly takes it on his own to address the jury: “Gentlemen, Chiccolini here may look like an idiot, act like an idiot and talk like an idiot. But don’t let that fool you…he really is an idiot!”

What makes Duck Soup great apart from the sharp script, is the chemistry between the four brothers, as well as with the remaining characters. As a 1933 black and white movie, there are certain aspects of the it that look dated, however the great performances make up for them. If you can get past this barrier, you will have a great time enjoying this piece of art. The musical segments can be a little unexpected, but they were a need back then; also, Margaret Dumont -the actress that plays Mrs. Teasdale- happened to be a professional opera singer, so it is impressive to see her talent on the screen.

Humor can take many forms, such as satire, sitcom, direct, impersonations, and of course the vauderville gag. If comedy is your thing, then know this: Duck Soup is a must on the list of any film fan, so do yourself a favor and watch this movie right now.

HR

Requiem for a Dream

With the Oscars coming up and my unconditional devotion for good films, today I’ll be talking about one of my favorite movies, which I also consider one of the best movies ever made. Keep in mind that recent history has proven the Oscars and best (or great) movies do not necessarily share a common ground.

Last weekend I hosted a party at my home and at one point we began playing “Guess the movie” by playing a soundtrack, and we bounced around most of the classic tracks from Disney films, to epics, to adventure, drama, and so on. At one point the song that was played was Requiem for a Dream‘s title song, which was immediately guessed by one of my friends in less than a second. Another friend was left startled at how fast the correct answer was given. I immediately told her: “Because that soundtrack gets embedded in your mind. That is how you know someone has or hasn’t seen that movie.” I lent her the DVD and invited her to enjoy the film. For those of you who haven’t seen it, I will not be spoiling anything. For those who want me to spoil something, I will briefly mention a couple of points talk a bit near the end of this entry.

Requiem is not just a good movie, or a great movie. It’s a powerful movie. It starts out without much fuzz and it even looks cheap at the beginning. It’s obviously an independent film, but just a couple of minutes into the movie, you are treated to something quite rare that only lasts a few seconds, but leaves crude impression right from the start. Also from the start, the movie is always backed up by the perpetual soundtrack of the Kronos Quartet, which is why the tunes of the movie get stuck in everyone’s mind so easily. Then there is the acting.

A young Jared Leto, who had just came from finishing “Fight Club” shines as Harry, the troubled son of retired widow Sara, who wishes for a better life and works hard -perhaps not in the most legal of ways- to achieve it in order to bring happiness for himself, as well as his girlfriend Marion, played by Jennifer Connelly. Most people believe Jen’s peak was her portrayal of John Nash’s wife in “A Beautiful Mind”, but I strongly disagree everytime I hear this assessment. I’ve always believed that you are witnessing an Oscar worthy performance, when an actor becomes one with the character they are portraying, and this is what Jen does becoming Marion: the most memorable moment is the bath-tub scene.

Then you have Marlon Wayans, fresh from the teen comical “Scary Movie” series, where he plays a pretty much one-sided dimensional character. In Requiem however, Marlon plays Harry’s best friend Tyrone, who has sort of a similar background as Harry’s, but less dramatic and more tragic. By the time the film had ended I had to double check it was in fact Marlon Wayans playing Tyrone, because I just simply couldn’t put together that the actor was the same guy had played the stoner in Scary Movie. Marlon has a nude scene with a profound impact because it humanizes the character in a way the viewer simply doesn’t expect it.

The show however belongs to Ellen Burstyn. And trust me, it’s not that Jen, Jared and Marlon do an average job, or a good job. Their performances alone are Oscar nomination worthy (or any award you may consider worth respecting). But Ellen, she just takes the entire film to a whole new level. Her performance is right there with Marlon Brando’s Vito Corleone, or F.Murray Abraham’s Antonio Salieri. Her character Sara Goldfarb, Harry’s mother, is unimpressive at first, even comical if you want. After say 15 minutes, somethings happens and she begins gaining strength. As the movie gets going, like a huge snowball falling from top of Mount Everest, she soon becomes a huge avalanche, with the dancing refrigerator scene becoming the “before and after” moment of the film. After that scene, Ellen reaches acting levels I have never seen in cinema from a lead female performance. The monologue scene left me breathless, and it will do the same to you. According to IMDb:

During Ellen Burstyn’s impassioned monologue about how it feels to be old, cinematographer Matthew Libatique accidentally let the camera drift off-target. When director Darren Aronofsky called “cut” and confronted him about it, he realized the reason Libatique had let the camera drift was because he had been crying during the take and fogged up the camera’s eyepiece. This was the take used in the final print.

… and just when you think nothing can top that scene, she continues raising the bar. I don’t want to give any specifics, but there are so many details on her character that everytime I watch the film, I am able to discover something new I hadn’t seen before.

Ellen was indeed nominated for the Oscars that year 2001, but she lost to the more Hollywood-esque oriented, Julia Robert’s Erin Brockovich. As I stated at the beginning, sometimes Oscars and Best are not synonimous. Believe me: as much as I respect Julia Roberts as an actress -including her performance in Erin Brokovich– there is a monumental gap between Julia’s Erin and Ellen’s Sara. In fact, I can rank Julia’s Erin performance equal to Jennifer Connelly’s Marion, with the slight difference that perhaps you may say Julia’s Erin was more of a lead character than Jen’s Marion. Still, I rank both performances quite evenly.

How Ellen was snubbed by the Oscars that year is beyond me, and is one of the reasons why I have never cared about the Oscars (or any awards). I guess Hollywood has a thing against independent films, and while Julia’s Erin was a good choice, it was also a better fit to the cliché of award winning performances based on real life stories (IE: Colin Firth in King Speech, Geoffrey Rush in Shine, Martin Landau in Ed Wood, and so on). In fact, now that I think about it, I would dare to say that Ellen being snubbed that year is the greatest blunder in the history of Oscars.

Darren Aronofsky’s direction is exactly what is expected from a director. He brings the film together and gives the audience a piece of art. There is a lot I can say about it, but I don’t want to take that pleasure from you.

Then you have details like the supporting minor characters. Like I said before, this in an independent film shot on a $4 million budget. It seems to me that Darren squeezed the best out of every penny to deliver the end result. The minor characters -who in any other film seem may be perceived as unimportant- in Requiem are as crucial and as important as the major characters, to the point that -like the film’s soundtrack- they leave a strong impression in your mind like the lead characters do. This is something that does not happen on other films. How much do you remember from the guy who introduces Strider/Aragorn to Frodo in “Lord of the Rings“? Or from the door bell in “There’s something about Mary“, or from the guys playing cards in “Titanic“.

Keith David, who has been known as someone who is in films for only a few minutes delivering two or three lines of dialogue and who throughout his career has been providing memorable minor supporting appearances in films (General Kinsey in “Armageddon“, Childs in “The Thing“, King in “Platoon“, Louis Fedders in “Men at Work“), delivers what arguably I may be his most memorable appearance. It’s kind of hard to top Childs and Louis Fedders, but by playing Big Tim in “Requiem“, he brings a whole new meaning to a gentle laugh over the phone. Trust me, when you watch the “laugh on the phone” scene scene you will either burst to death from laughing or throw a hammer at your TV set: you have been warned. Other supporting characters include Sara’s friends, who are equally powerful, although in their own particular way inside the story. I love the “if this is red, then what’s orange?” exchange.

Then you have the great Stanley B. Herman as Uncle Hank (according to the credits), who is better known colloquially as the “Ass-to-Ass Guy“. You probably haven’t heard of Stanley B. Herman before, and trust me you’ll probably never hear from him ever again. He’s in the film for… five seconds maybe? Definitely no more than ten seconds. However, his appearance is so memorable that his character has even created a cult-following. Years ago I read an article dedicated to Stanley’s memorable performance, in which the author wrote: “I’m not sure how he got cast to be the Ass-to-Ass Guy, but from what I can tell, it was the role he was born to play“. The author also stated that “Not since Boba Fett in the original Star Wars trilogy, has a character intrigued the masses so much with a bare minimum of screen time”.

Finally, there is the deaf mob-boss, the police officer at the coffee shop, Arnold, the cops at the prison… even Dylan Baker has a five second memorable appearance as well.

Combine all of this with the looping and haunting Kronos Quartet score, and the result is that Requiem for a Dream leaves a mark in your brain so strong, it would take two ammesia attacks for it to start dissappearing.

Imagine a mental beating with the same physical suffering ancient Romans inflicted on their slaves, relentlessly and endlessly breaking them until forcing their submission. That is exactly what this movie does to you. I have yet to meet someone who has been able to stand Requem without giving a minimal sign of grief. Requiem is the epitome of independent filmmaking: daring, crude, merciless, realistic and just when you think it will cut you a break, it keeps on pounding your mind non-stop. If you expect this film to take a pause and go easy on you for a minute or two, then you guessed wrong. It will go hard and harder until it breaks you down.

HR

John Carpenter’s The Thing

A couple of weeks ago I watched “The Lady in Black” with a couple of friends, which is a recent horror film starring Harry Potter’s Daniel Radcliffe, and, to be perfectly honest, the movie left a pretty bad taste on my mouth. So after the unsatisfactory feeling, I convinced my friends to watch a real jewel from the horror genre: John Carpenter’s The Thing.

None of my friends had seen this classic, which is a virtually a flawless movie. The Thing is a piece of art, right from the beginning starting with that spooky soundtrack that creates a tune that captures your imagination and let’s you know when something bad will happen. The group of characters is numbered at twelve and the film applies a formula similar to the one seen in Alien of not giving much importance to anyone in particular. Instead, the film portrays them as normal human beings with weaknesses and emotions. A very young Kurt Russell along with Keith David lead the pack, but just barely. The rest of the characters is so balanced that you have absolutely no idea who will the next victim be.

The script and plot of the movie are solid. It is fascinating to think that the base of the film is a short story dated from 1931. By the time you are fifteen minutes into the film, the tension has been building up so effectively, you have no choice but to immediately place yourself in the situation our protagonists are in. This grip the movie holds on you gets tighter with every passing minute, reaching the climax once the movie reaches its ending.

Then we have John Carpenter’s direction and treatment of the film’s plot. There are so many well constructed details, even today -years after its release- a huge fan base keeps investing endless hours of research discussing every possibility of the many theories that can explain the movie’s plot and its highly ambiguous ending. A few examples of the recurrent questions we can find online without answers include:

  • What happened to Fuchs?
  • Why didn’t Palmer and Norris assimilate MacReady at the crater?
  • Who did Fuchs see?
  • Who got rid of the blood?
  • Did Childs really see someone outside the camp?
  • What happens with the survivors?
  • …and the mother of all questions: Who is infected in the end?

This -in my opinion- is where The Thing’s strength is. It is as gentle as a rose in a field of grass on spring. The Thing is more than a horror movie; it is a puzzle that leaves the viewer with a huge desire of trying to put the pieces of it together in order to understand it as a whole, pretty much like what happens with Memento or Mulholland Dr.

When praising the movie, one has to discuss the theories that try to solve the puzzle, which leave us with no other option but to realize that The Thing (the actual creature) is not just another alien that wants to systematically kill everyone on sight, but it’s a cold-blooded, smart, methodical killer, whose strategy even includes injecting fear in its enemies, spreading confusion by deceiving, and cultivating the lost of hope. For instance, in the scene where Norris dies, why would Palmer point at the Norris-head-thing? Because he wanted everyone to believe that he wasn’t infected.

The Thing is a terrific experience and I particularly enjoy repeat viewings to try to decipher its enigma. When one watches Alien, everything is straightforward and no questions are left unanswered. In The Thing, one has to understand that the Thing plans how and when it will reveal itself and who will be its next victim. The ending is a frustrating experience that awakens our hunger of knowledge, and I have yet to meet someone who doesn’t say “Is this how it ends?!”

If you like horror movies and mind boggling movies, then treat yourself: John Carpenter’s The Thing is your option.

HR

Dumb and Dumber

Up until 1994, the name Jim Carrey was virtually unknown to the world. He had starred in a couple of sitcoms that had mixed reviews and had a few appearances on the Letterman show. Jeff Daniels on the other hand was a relatively household name, mostly due to his wonderful performance perceived from Woody Allen’s “The Purple Rose of Cairo” and other roles in Arachnophobia, Checking out and Love hurts. Suddenly, Jim Carrey scored big with back-to-back comedy hits Ace Ventura and The Mask, and Jeff Daniels also scored big in the action thriller Speed. Shortly after, both of them found themselves reuinted under the firstt Farrelly Brother’s movie Dumb and Dumber, a comedy that tells the adventures of two friends travelling cross-country America.

With the exception of one scene which foresees Jim Carrey’s talents venturing into drama, there is not a single serious moment in Dumb and Dumber. Right from the get go you can tell you are on for a product of marvolous creativity. The first scene features Jim Carrey’s character “Lloyd Christmas”, confusing a woman’s Austrian accent with an Australian accent. After she dumps him, we get to see the initial credits: “New Line Cinema PREZENTS”, “In ASSOCIASHUN with Motion Picture Corporacion of America”.

The movie follows Lloyd travelling across the country from Rhode Island to Aspen, “California” with his friend Harry, in order to return a briefcase left at Rhode Island’s airport that belongs to Mary Swanson -a one time passenger of Lloyd’s limo driver part time job-. The rest of the movie is a series of hillarious situations that feature the selling of a dead parakeet, picking up of peruvian hitchhikers, freezing your tongue against a ski-cart, an accidental murder of a mob hitman, killing an owl with a champagne corch, borrowing thousands of Dollars in exchange of “I OWE YOU” notes and let’s not forget “the most annoying sound in the world.”

It his hard to pick who is the Dumb and who is the Dumber, and it is even harder to pick who is the brain in this entire operation -if you can call it that way-. Although there are brief flashes of clever actions, the overall common sense and rationality the two characters have is just way below any known psycological standards. My three favorite moments are:

  1. Lloyd exiting one of these 24 hour gas station quick stores and saluting a couple of bystanders with the expression “Hey guys! Whoa… BIG GULPS HUH??! Well, see you later!”
  2. Lloyd mentioning to Harry (referring about Mary) that: “If I know her well as I think I do, she’ll invite us right in for tea and strumpets.” I was a kid when I watched the movie and I remember thinking something like “Did he just say tea and trumpets?” I consider this one of the the most overlooked, subtle, and underestimated jokes in the entire film, along with…
  3. Harry’s: “She gave me a John Deere letter.”

After D&D, the Farrelly Brothers kept making successful movies, gaining a huge fanbase world wide, however in my opinion, none of the movies were able to surpass Dumb and Dumber. A sequel has been announced in the next years, with Carrey and Daniel reprising their roles, which makes me wonder: what kind of dead animal will Lloyd end up selling this time?

HR

Vertigo named Greatest Film of All Time

Sight and Sound Magazine just finished compiling votes from movie critics and directors, with results showing that experts selected Alfred Hitchcock’s Vertigo as the Greatest Film of All time, surpassing Citizen Kane, which was chosen in the same poll the last time it was taken ten years ago.

Here is the top 10 finalists with a brief description of the film and my opinion about it:

1. Vertigo

(1958, Alfred Hitchcock). A very complex film that wasn’t appreciated in its own time, but ever since has built its reputation as the greatest movie ever done. Hitchcock tells the story of Scotty, a retired detective who falls in love and becomes obsessed with the wife of one of his friends, who has asked him to follow her. Vertigo deserves to be in a top 10 list, and it certainly is in mine.

2. Citizen Kane 

(1939, Orson Wells). An almost perfect film about the media, manipulation, individual achievements and an unexplained death with a confusing hidden message. Like Vertigo, Kane also received mixed reviews and was not well understood when it was released. Today, it is a mandatory lesson in film school, and also holds up to the title of greatest film of all time if you would want to rate it over Vertigo.

3.Tokyo Story

(1953, Ozu Yasujiru). I have this film in my library but I haven’t seen it yet.

4.La Regle du jeu

(1938, Jean Renoir). A great film based prior World War II that explores the bourgeois life in France. The film is directed by Jean Renoir -son of the famous painter Auguste Renoir- and it’s by no means short of the quality of art his father produced.

5. Sunrise: A song for two humans

(1927, F.W. Murnau). I have this film in my library but I haven’t seen it yet.

6. 2001: A space oddysey

(1968, Stanley Kubrick). Arguably the most complex film in any “Greatest movies” list. An exploration of our past, present and future, using the most basic feelings of human nature portrayed by Kubrick’s vision.

7. The Searchers

(1955, John Ford). I may offend someone by saying this, but I differ on The Searchers being on the list. Although thematically different -but in the same genre- The Good, The Bad and The Ugly is the better movie. The Searchers is strong and is definitely the best western ever made, but The Good, The Bad and The Ugly transcends in being much more than just a western.

8. Man with a movie camera

(1939, Dziga Vertov). I may offend even more people by saying this, but up until today I had never heard anything about this film. I will do whatever it takes to obtain it and watch it.

9. The Passion of Joan of Arc

(1927, Carl Dreyer). A true masterpiece of cinema. Its value has greatly increased after it was believed to be lost forever after a fire destroyed the master negative. Even after several attempts of reassembling it using outtakes, its director -Carl Dreyer- passed away believing it could never be recovered. Renee Falconetti gives the performance of a lifetime portraying the heroic french in her final days, being imprisoned, tortured and executed.

10. 8 1/2

(1963, Federico Fellini). Fellini’s masterpiece. A very emotional and capturing film, with amazing performances by Marcelo Mastroianni and Claudia Cardinale. Visually stunning, compelling and philosophical, 8 1/2 stands on top of as a unique film. There is no waste of ink every time it is included in a top two list of greatest films ever made.

Sight and Sound also released a subset of the top 10, which was generated from votes casted only by directors:

1. Tokyo Story: mentioned above.

2 (tie) 2001: A space oddysey and Citizen Kane: mentioned above.

4. 8 1/2: mentioned above.

5. Taxi Driver

(1976, Martin Scorsese). There is so much to say about Taxi Driver, it is unfair to summarize it in a simple paragraph, so I will just say that it does deserve to be in a top 10 list, even if there are eleven films.

6. Apocalypse Now

(1979, Francis Ford Coppola). Apocalypse belongs to the quartet of elite Vietnam films: Full Metal Jacket (Kubrick), Platoon and The Deer Hunter. I honestly believe that Apocalypse and FMJ are in the same level, therefore choosing one over the other is unfair.

7 (tie) Vertigo and The Godfather

(1972, Francis Ford Coppola). I do not quite understand how can one have a top 10 list and not include (or vote for) The Godfather.

9. Mirror

(1975, Andrei Takorskiy). A stunning film that will stick in your mind forever. Expressive, artful, meaningful, tearful, personal: perhaps the most emotional film ever done.

10. Bicycle Thieves

(1948, Vittorio di Sica). I have this film in my library but I haven’t seen it yet. I intended to watch it with my Italian ex-girlfriend, but we broke up.

For those of you wondering, this is my list:

  • 8 1/2
  • 2001
  • Airplane!
  • Citizen Kane
  • Das Boot
  • Fantasia
  • Mirror
  • Persona
  • Pulp Fiction
  • Taxi Driver
  • The Godfather
  • The Good, The Bad and The Ugly
  • The Passion of Joan de Arc
  • Vertigo

You will notice two things: the first one is my addition of Walt Disney’s Fantasia (1940, Walt Disney), which is a movie that tells the story of our lives in such a subtle way, it has yet to be fully appreciated and treated the way it deserves. The second one is that my top 10 list is does not contain 10 films. I purposely do this, because I don’t really believe in 5’s, 10’s or 25’s lists. I just rate films in levels and those are the films I believe have the highest rank and are positioned in the highest league of film making and cinema.

Here is the source of the original poll:

So, what are your top 10 films?

HR

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