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Non-Review Review: Raging Bull

I might disagree with the critical consensus that Raging Bull stands as Martin Scorsese’s crowning accomplishment, or even that it’s probably the best film of the eighties, but there’s no denying that it’s a shockingly powerful piece of cinema. The fact that Scorsese was originally reluctant to direct what had become a passion project for Robert DeNiro just makes the movie’s status as a masterpiece of modern cinema all the more ironic, as the film seems to play like a pitch perfect symphony, each of its many separate elements feeding perfectly into one another to create a whole that is far greater than its incredibly brilliant constituent elements.

The portrait of the boxer as a young man...

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Berry Your Head in Shame: Watching The White Dwarf Stars In Slow Motion…

Speedman is a dying star. A white dwarf headed for a black hole. That’s physics. It’s inevitable.

– Les Grossman, Tropic Thunder

Fame is like anything else. It’s like money or luck. It comes and it goes. Still, as the poster for Halle Berry’s latest film, Dark Tide, arrive, it’s hard not to feel a little bit sorry for those performers who have watched their fame and popularity slip out from underneath them.

Halle Berry won an Oscar for Monster’s Ball. She played one of the few James Bond characters to be considered for a spin-off, appearing in Die Another Day. She got a considerable pay increase for showing her breasts in Swordfish. She headlined one of the very few female-centric superhero films, the dire Catwoman. Not all of those were good films. In fact, being harsh, I’d argue that one of them was a good film, and the rest were significantly flawed, if not outright terrible. Still, it’s quite sad to see the former Oscar-winner relegated to appearing in the latest film from the director of Blue Crush and Into the Blue.

She did make some Berry questionable choices...

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Generation Next: The Changing of the Cinematic Guard…

There are times when I feel quite young. I was born on the same day that The Joshua Tree was released. My dad took me to the cinematic re-release of Star Wars. I was mainly introduced to the great directors through video and DVD. Hollywood as it exists today is not markedly different from the Hollywood that I grew up with. However, as I sat in the cinema last week, it occurred to me: perhaps I have sat through my first real changing of the cinematic guard, so to speak. It’s an occurance so subtle and gradual that I never really noticed it, and yet it must, by necessity, be part of Hollywood’s seasonal cycle.

Putting the older generation out to feed?

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Non-Review Review: Jackie Brown

I think Jackie Brown suffers in comparison to the rest of Quentin Tarantino’s distinguished filmography. While Grindhouse: Deathproof divides film fanatics along “love it” or “hate it” lines, it seems the general critical consensus on Jackie Brown is that it’s simply “quite good.” I like the film, even if I don’t rank it as highly as most of his other work, and I wonder if the movie feels so strange because it’s probably the most “conventional”film that Tarantino has directed. While the dialogue and the character interactions help immediately identify the film as the product of Tarantino, it’s an adaptation of an Elmore Leonard novel, and it feels like a reasonably conventional little crime thriller.

That's her name...

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Non-Review Review: Machete

I really liked Machete. It sounds strange from somebody who was relatively unimpressed with Robert Rodriguez’s contribution to Grindhouse, the lackluster b-movie throwback Planet Terror. I think that Machete works because it’s considerably more obvious in its humour, while still walking through a fairly conventional “exploitation” plot. Although the storyline and characters could easily have come from some dingy shot-on-video-camera b-movie, Rodriguez seems somewhat clearer in his parody here, as if he’s making an intentionally hilarious film, rather than merely trying to create the sense of an unintentionally hilarious film. I think it really works, because it’s everything a film like this should be: it’s gleefully silly, ridiculously violent, hilariously “relevent”, and presented in an insanely over-the-top manner.

Machete don't fold...

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To The Devil His Due: Why I Don’t Begrudge Classic Actors “Selling Out”…

I happened to catch a few minutes of Anger Management on television last night. Not enough that I’d feel comfortable reviewing it, but enough to remember most of what I needed to about the movie – which was a perfectly standard Adam Sandler comedy notable for affording the comedian the opportunity to play opposite Jack Nicholson. Nicholson who was an autopilot for the most of the film, but managed to deliver one of the most awkwardly creepy-and-hilarious moments in recent cinematic history as his eyebrows urge Sandler’s character to deliver the line, “I’m sorry I was so rude before… but… it’s difficult for me… to… express myself… when I am on the verge of… exploding in my pants.” Aside from that surreal perv-y old man moment, Nicholson seemed to be in the film mostly for the pay check, which seems to be a recurring trend these days for all manner of respected veteran actors. It’s easy to label performances by Al Pacino in Righteous Kill and 88 Minutes or Robert DeNiro in Little Fockers as classic actors “selling out”, but is it really that big a deal? Is it something we can begrudge these one-time icons?

Most of his paychecks get made out to "Jack Nicholson's eybrows"...

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Non-Review Review: Limitless

Limitless has an epiphany about half-way through its runtime. We follow our lead, Eddie, as he discovers a miracle drug which manages to somehow make you a genius (he boasts he has “a four-digit IQ”). However, he is stunned to discover that coming off the drug isn’t exactly pretty. Those who haven’t given up have all died. He meets a survivor in a small café, where she recounts how wonderful the experience of using the drug was, but how hallow life seemed afterwards. Having tasted that sort of greatness, she relates how the world seemed boring afterwards, she couldn’t focus and nothing could hold her attention for more than ten minutes. She seems to have been speaking on behalf of the film.

It's all falling into place...

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Non-Review Review: Ronin

Ronin is the perfect example of a movie that knows exactly what it is. It’s a high-octane thriller which bends and curves and uncertainties and all manner of similar complications. There’s no tangential elements to the plot, like an awkwardly-inserted love-story or an attempt to humanise any of the people involved. It’s just a well-made thriller with fantastic locations and wonderfully-staged action. At one stage, the grizzled French mercenary Vincent remarks, “No questions, no answers. That’s the business we’re in.” It’s refreshing and honest, and frank.

DeNiro's the big gun here...

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Non-Review Review: Stone

Stone began its life as a play. You get a sense of that watching the film – the only points during which it seems to come especially alive is when its two leads, Robert deNiro and Edward Norton, are playing off against each other. Both actors are genuinely great performers who have faded from the spotlight in recent years and, while the film isn’t consistent enough to put either back on the map, it does demonstrate some of the talent involved.

A Stone-cold killer?

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Non-Review Review: Heat

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “nineties noir” – I’ll be looking at two of the finest noir-inspired films of the nineties.

I do what I do best, I take scores. You do what you best, try to stop guys like me.

– Neil McCauley to Vincent Hanna

I’ll be honest and concede that, right off the bat, I have a lot more love for Heat than most. Don’t get me wrong, I don’t labour under the assumption that it’s a poorly-received film (it’s rare to find someone who will concede that they dislike it), but I still have a stronger affection for Heat than the vast majority of viewers. I was only ten years old when Heat was released, and I think that was a big a moment for me. My ten-year-old self was familiar with big, sprawling epic sagas, but I think I used to believe that these sorts of epics were reserved for stories set in times long past. I think, in my innocence (or foolishness, depending on how kind you wish to be to my younger self), I felt that epic stories didn’t really happen anymore.

And then I saw Heat, which somehow managed to take an epic, sprawling narrative style which – at the time – I could only remember from films like Dances With Wolves or Cleopatra or Gone With The Wind, and applied it to cops and robbers. If I were to construct a list of films which helped me fall in love with cinema, Heat would be on there. Pretty high, too.

It's a whole different ballgame...

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