Repo Man (1984)

Location: Home
Seen Before: Yes
Rating: 4.5

Bridget Jones' Diary

Location: Rach's Dorm
Seen Before: No
Rating: 3.5

I have to give this movie credit for two reasons: it's rather funny and treads water "chick flicks" never dare. I enjoyed watching it.

Walkabout

Location: Home
Seen Before: No
Rating: 3.0

I thought this was a decent film, but not grande. For the most part I wasn't sure what Nicolas Roeg was trying to say with the way he was trying to tell the story. Some of the editing techniques he used to show similarities between events struck me as too obvious. I liked the basic story idea but was overall dissapointed in its portrayal. Again, not a bad film, but not wonderful.

The Bicycle Thief

Location: Home
Seen Before: No
Rating: 4.0

I enjoyed this film and it was more or less what I expected. I didn't feel completely knocked over, blown away, or electrocuted, but I give it a 4.0 because of the way the film it is put together: a very simple story done in a classic way, with great performances. The story and characters come foremost--something I always look for. The joy that the main character shows simply to be given the opportunity to hold a simply job is so beautiful, as is his relationship with his young son. I think this is the kind of film that deserves repeated viewings before it fully sinks in.

The Conformist

Location: Home
Seen Before: No
Rating: 3.5 (?)

I almost want to say that I can't fairly rate this film as I couldn't tightly grasp the story being told. Sure, I vaguely know, but nothing more. The cinematography in most scenes was just remarkable (as I had expected and really why I was seeking this out). Looks like I'll just have to watch this a few more times.

La Jetee

Location: University Center 212
Seen Before: Yes
Rating: 5.0

I'd read and seen a still from this photo roman about a year ago, and immediately began my investigation into tracking down a copy of it. It was difficult, but I finally caught it on the Sundance Channel.
My expectations and excitment were through the roof prior to sitting down and taking it in and, unbelieveably, they were shattered moments into the viewing. La Jetee is so beautiful and perfect that words practically fail to correctly describe it. Of the hundreds of still images that make up this photo roman, not one is flawed--each wonderfully exquisite. This is as close to poetry that I have ever seen a film come to, and probably will ever see. Chris Marker works within the science fiction genre not because he is interested in showing us some great new future world, but because he is instead fascinated by ideas and characters set in this futuristic surrounding (an element that makes 2001, Blade Runner, and almost every sci-fi film so outstanding). The real tradegy of Marker's masterpiece is that it is so hard to come by.
Criterion? Are you listening?

Match Point (2005)

Location: Loews Waterfront Theater
Seen Before: No
Rating: 4.5

March of the Penguins

Location: Home
Seen Before: No
Rating: 3.5

Toy Story

Location: University Center 212
Seen Before: Yes
Rating: 4.0

Brokeback Mountain (2005)

Location: Lowes Waterfront Theater
Seen Before: Yes
Rating: 5.0

A perfect film and one that honestly deserves to be remembered for more than the controversy and the Academy Awards blunder. I remember saying that every year a film comes along that is the one to remember or easily the best of the bunch, reminding us where more films should be. Brokeback Mountain, A History of Violence, and say, oh, Match Point, have done it in 2005--perhaps better than the best films of recent previous years.

The Treasure of the Sierra Madre

Location: Home
Seen Before: No
Rating: 4.5

Beautiful Girls

Location: Home
Seen Before: No
Rating: 3.5

Once upon a time, films like this were made where nothing is particulary profound--be it the acting, direction, cinematography, etc.--but the film as a whole is completely satisfying and enjoyable. For the most part the actors stay within their safe areas as they generally put forth what they already have in the past (Timothy Hutton, Matt Dillion, Michael Rappaport), save finer performaces by Uma Thurman and an ever-young Natalie Portman. Beautiful Girls exemplifies that of a delightful film; one that feels steeped in nostalgia and welcome-homes (despite one actually feeling welcome). I enjoyed this from beginning to end.

Return of the Pink Panter

Location: Home
Seen Before: Yes
Rating: 3.0

Peter Sellers is fantastic in this movie, and the whole thing is really just a vehicle for him to make you laugh. This isn't necessarily a bad thing, but the plot of the film does sag beneath the weight of the audience simply waiting to see Sellers on screen again.

Brokeback Mountain

Location: Loews Waterfront Theater
Seen Before: No
Rating: 5.0

The French Connection

Location: Home
Seen Before: Yes
Rating: 5.0

Strangers On A Train

Location: Home
Seen Before: No
Rating: 3.5

I liked this one, but not my favorite. Is it "Minor Hitchcock?" No, not exactly.

Deconstructing Harry

Location: Erik's
Seen Before: Yes (at least I think so)
Rating: 3.0

A History of Violence

Location: Harris Theater
Seen Before: No
Rating: 4.5

I was immediately intriguied upon seeing the trailer for this film at the end of summer. The reviews came pouring in upon its release and they were practically universally acclaiming it the best film of the year. For fear of being let down after being so interested in it, I kept putting off A History of Violence until it eventually dissapeared from the theaters. And then Pittsburgh Filmmakers brought it back this week for their annual "Films You May Have Missed" series. Knowing it was my last chance to see it before dvd, I made my way downtown last night with Rachel.
And was I ever blown away. I found myself, thoughout the whole film, waiting ecstatically in anticipation for what was to happen next. A couple of times I figured I knew what direction the film would take next--how the rest of it would play out--but Cronenberg never gave me the satisfaction (or dissapointment, rather) of being correct in my assumptions. With this film he has demonstrated a mastery of camerawork, lighting, actor direction, and pacing. I felt a bit dissapointed in the unfolding and execution of the climactic scene, but it doesn't matter due to the matchless quality of the film as a whole. All of the actors are pitch-perfect, especially Mortensen (the first graduate of the Lord of the Rings class to do something truely grande), Bello, and Harris. I will admit a hesitation in regard to the uniquely explicit sex scenes, but I can completely understand what Cronenberg was shooting for. Also, I felt that the relationship between father Tom and son Jack didn't completely click, and it's fine if an uneasy relationship between the two was the point, but if that's the case then it could have been explored and fleshed-out further.
Nit-picking aside, Cronenberg has fashioned the best film of the year that no other has been able to touch with a ten-foot pole. I imagine the final word in the Best Film category will be had when I see Brokeback Mountain this weekend, but A History of Violence is the one to beat.

Bringing Up Baby

Location: Home
Seen Before: No
Rating: 4.0

I really, really enjoyed Bringing Up Baby. The script is wonderfully funny with Cary Grant and Katherine Hepburn bringing nonstop laughs. I was amazed by what a powerful force Hepburn is--so alive and energetic--as she jumped off of the screen. I have a crush on her now.

A Night To Remember

Location: Home
Seen Before: No
Rating: 4.0

I was orginally going to rate this movie a bit lower as we don't have a main character that we follow as closely as we are used to. Second Officer Charles acts as our main character, but due to the amount of people on the ship, we are always shifting focus between [sets] of characters to get to know all of them at least a little. Up until around halfway through the film, I thought this to be a flaw, but as the ship began sinking further I realized that this is probably the best way to handle the story. No one is really watching this to see relationships--we really just want to see the ship sink. We learn enough about the characters to care about them as the ship goes down.
The giant sets and the Titanic itself are fabulous to see onscreen as we know there was no such thing as computers, let alone CGI. The cinematography is beautiful and all of the actors do a very good job.

The Honeymoon Killers

Location: Home
Seen Before: No
Rating: 3.0

Dear Martha...I hope you will allow me the liberty of addressing you by your Christian name.

My first impression of this film, about a minute or so into it, was that this was a true B Movie. The poor picture quality, atrocious audio, [mostly] second-rate acting, and generally stilted dialogue almost had me reaching for the eject button on the remote control. I pressed-on, however, sticking with this film from 1970 that seemed like an early John Waters attempt at non-despicable cinema.
As the story went on, however, there were many elements that I began to admire (hence the inclusion of two film stills and a rather amazing quote). Tony Lo Bianco's performance as Raymond Fernandez isn't second-rate by far--he delivers some of the best lines in the film and, when it is time to bring the drama, he does so. Shirley Stoler as Martha Beck, however, falls short of her co-star which adds to the unintentional B-movie feel. I appreciated, however, that Stoler was the antithesis of the ideal lead actress stereotype; that director Leonard Kastle was consciously trying to tread the grain. At the same time, for as much of the uninspired or flawed bits of cinematography, there were just as many spectacular ones. I was also consistently in awe of how this film truely looks like it was made in the early 1950's, shortly after the actual killings took place. I'm not exactly sure how this was done, but never does it appear to be 1970.
I'm glad I stuck by this, although I do not know how many repeated viewings of it I will take in; though I would, at some point, certainly watch it again.

Paper Moon

Location: Home
Seen Before: No
Rating: 3.5

I went into this with virtually no expectations, other than it would just barely reach mediocrity as I was under the impression that Bogdanovich immediately fizzled out following The Last Picture Show. It isn't the case, though--in fact he's crafted a pretty good little film with Paper Moon. The reason that it does not fall completely flat is due to the outrageously impressive performace by the 10-year-old Tatum O'Neil (as well as a great turn by pop Ryan), perfect cinematography by Laszlo Kovacs, and engaging screenplay by Alvin Sargeant (from the Joe David Brown Novel). Tatum truely shines in a way that few other child actors have, where she completely leads the picture without ever being cutesy or hokey--she transcends the "child actor" moniker completely into purely being an "actor." The only other child performance that is as powerful is Jean-Pierre Leaud's turn in The 400 Blows.
Paper Moon looses steam or, perhaps, doesn't manage to build it properly to begin with. Yes, there is an interest in the story and its characters from the get-go, but I think I felt like I did not understand why Moses was immediately trying to rid himself of Addie. We infer that she would simply be a burden to travel with and look after, but--and I think Bogdanovich does this throughout--scenes are brought to a close before they really feel as if they've naturally come to an end. At the same time I felt the film just moseyed along; certainly we have to see the relationship build between Moses and Addie, but perhaps it seemed as if this was overshown without the ugly head of consequence rearing (until we reach the arrival of Trixie). When the duo get picked up by the cops is when I finally felt a rush in the film, which is obviously much too far along the narrative path.
If there is a sub-genre known as buddy movies, then this film falls into the sub-sub-genre of mismatched buddies where one or both do not like each other, which one can assume with some sort of accuracy that Paper Moon established. Despite my criticisms of the screenplay, I cannot help but give this a 3.5 because of the fine performances, exquisite cinematography, and engaging story.

A Clockwork Orange

Location: Home
Seen Before: Yes
Rating: 5.0

Every time I watch this film I think of the first time I saw it: on a copy of a VHS made by Lisa Didomenico, home alone on an 11th grade Saturday (or maybe it was a Friday night). I knew very little about the film, other than the ideas I had formed about it due to its somewhat infamous reputation. Watching it was nerve-racking, as I was constantly waiting for something shocking and unsettling to happen and, of course, those expectations were met throughout. I took a deep liking to it, however, and after watching it felt as if I was in on a juicy secret that few others could say they were carrying with them; not especially because I thought that many people were unaware of the film, but I suppose instead because of its tour de force portrayal of sex, violence, politics, satire, language and music. This of course turned me on to the films of Stanley Kubrick--films that are so blazingly unique and have made such an impact on me.

Le Samourai

Location: Home
Seen Before: No
Rating: 3.5

The most fascinating element of this film for me is the character of Jef Costello (as well as actor Alain Delon's portrayal of him). Jef is so interesting and fun to watch that Melville could have kept putting him in films with different situations and it would never become dull; he is the epitome of cool. Delon is so perfectly cast that one cannot imagine any other actor playing this blue-eyed, cold-blooded killer for hire. With any other character of director at the center of this film, it would really fall flat. Both Jef and Melville keep it alive; Jef has the audience always waiting for his next move and Melville tells the story in a way that would not be seen in at least American films for another few years.

Le Samourai may fall short next to Melville's Le Cercle Rouge because it becomes too caught up in the police investigation instead of Jef's investigation into who actually hired him for the original job. Certainly the police side is necessary and essential to build tension, but it sidetracks our main character too much. Melville handles the same situation in Rouge (police investigation alongside a crime caper) much better, perhaps because in that film he gives himself 45 extra minutes--with not one of them dragging--to tell his story.

Overall, Le Samourai is worth watching and undoubtedly warrants extra viewings; perhaps even a purchase.

Pickpocket

Location: Home
Seen Before: Yes

When I first saw Pickpocket, more than a year ago, I was not let down, persay, but was expecting a different type of film. It was my first leap into the film and style of Robert Bresson, and what a leap that is. I liked it though, and sometime later went on to see Diary of a Country Priest, which I immediately responded to much more quickly.

This second viewing of Pickpocket had me appreciating the film and Bresson even more. The time he takes telling the story; how anticlimactic it is (in both scenes and the whole story itself); the way the non-professional actors add to the narrative and characters--this is all rather remarkable. Paul Schrader remarks that this had been the most important film in his life, and the comparison between it and Taxi Driver yields many similarities. Ultimately, however, Bresson tells a much sadder tale with an even lonelier protagonist. Travis Bickle is an easier character to relate to because he wear his emotions on his sleave, where as Michel hides it all from us (as does Bresson, through his general non-use of manipulating cinematic techniques). Bickle is also a type of character that we can, oddly enough, look up to for his courage--despite whether or not he is doing the "right" thing. Michel, on the other hand, is so introverted that it feels like we are never really able to get inside of his head and stand by him, but we nonetheless root for and are interested in him.

I'm glad this is finally out on Criterion.

Cinderfella

Location: Home
Seen Before: Yes

Robert said he'd hand me off his old Jerry Lewis tapes because he just got them all on dvd. I popped in Cinderfella tonight, looking for a good laugh. This is Lewis far from his best; in fact this one is pretty forgettable. There are a few laughs, but the story isn't told well, and therefore the viewer's interest quickly fades. The fellow who plays the aptly named fairy godfather comes off doubly creepy--his high pitched voice; too tight wardrobe; appearing out of thin air. I believe he was the voice of one of the misfit toys in Rudolph the Red Nosed Reindeer.

The Royal Tenenbaums

Location: Home
Seen Before: Yes

I hadn't watched this in over a year, and it's every bit as good as it's always been.