Captain America: The Winter Soldier (2014)

Have you seen Captain America: The Winter Soldier yet?  Yes?  Great!  No?  Then stop reading this right now and go see it.  I'm not kidding.  Go.

Since you are reading now, I'm assuming that you are back from the theater, giddy from all the superhero excellence.  Congratulations, you've just seen the best superhero film at LEAST since The Avengers.  It may just be the best film in all the Marvel universe so far.

I think I'll go through the things that bugged me first, get them out of the way, then tell you why the movie rocks.

• Some of the humor was out of place.  It fell flat because it just wasn't the right time for a joke.
• The overall plan of the bad guys was patently absurd.  It involved guns, twisted evil morality, and math.  The movie is better if you just pretend it makes sense.
• Can somebody PLEASE tell Hollywood to stop doing "shaky cam" when people are just sitting in a room and talking?  Thanks, because that really bugs me.
• Once or twice the action got a tad bit too frantic, where it was tough to see what was going on at all.
• You mean that after the beating that dude took, and the fact that he was TRAPPED ON A BOAT, he still got away from Captain America?
• The thought process that seems to go like this: "Hmm, I'm facing insurmountable odds, and thousands if not millions of people will die if I fail.  Should I call Iron Man, Hulk, and Hawkeye to help out?  I mean, they do have a vested interest in defeating the bad guys too.  Nah, I got this on my own."  Iron Man 3 had this same issue; the only practical reason why the other Avengers were not helping was that this was Captain America 2, not The Avengers 2.
• Why did they have the compulsive need to tell me the latitude and longitude of every location?  Does anyone else think that's just weird?

I know it's just concept art, but look at all the awesome!  Look at it!

Except for the absurd bad guy plan, these are rather small potato complaints.  That's because this movie is about as great as a fan of Captain America is ever going to get.  The action is intense and fun, showcasing the abilities of both Cap and the titular Winter Soldier -who just happens to be the best Marvel villain since Loki.  

The action sequences are stunning.  Especially after a certain point in the movie nothing feels "safe," and the action really feels dangerous.  The car chases and wrecks and explosions all have a marvelous "real" feeling to them, something often lacking in our current world of CGI.

The supporting cast have a lot to do.  Black Widow feels as deadly as always, Nick Fury gets a chance to show he also can cause serious damage, and Falcon gets to be thrilling and new.  The titular Winter Soldier gets some great opportunities to demonstrate just how dangerous and deadly he is, and he left me wanting to see far more.

That's all fun stuff, but it's Cap that truly shines.  I never did get that "wow, that's Captain America!" feeling from The First Avenger.  The Avengers helped Cap come into his own, so that was better for his character.  But in this movie the Cap finally gets that "wow, that's Captain America!" feeling right.  This is a guy who takes charge, who is not out of his league in any situation, who has an unfaltering moral compass, and who absolutely shows us why he deserves to stand shoulder to shoulder with the world's greatest superheros.

Ok, so the writing won't win any oscars, and the direction was good enough not to be noticed.  Certain aspects of the plot were as predictable as clockwork.  The acting was merely passable, though nobody expects more.  The plot and storytelling are great, though as I mentioned the bad guy's plan is kinda over the top.  And by the end everything didn't quite tie off as satisfyingly as I would have liked.  But you know, all in all the complaints are small and lost in all the awesome.

This was a highly entertaining film, setting a new bar for greatness in superhero films.  If Marvel keeps improving at this rate I can't wait to see what they have in store for The Avengers 2.

Entertainment: 10/10
Artistic Value: 4/10
Technical Merit: 6/10

Overall: 7/10

Best of the Letter "P:" The Princess Bride (1987)

For my original review of this film, click here.

I struggled with the letter "P."  There are so many great films that start with this letter, it almost seems a shame to elevate one over the others.  But ultimately there can be only one, and that one must be The Princess Bride.

Ok, I'm about to give every reason The Princess Bride should NOT be the best of the letter "P."  There is good writing, but I've seen better.  There's passable acting, with the occasional brilliant bits, but I've seen better.  The special effects are terrible, the makeup and monster effects laughable, and the overall feeling of the film is total cornball.  There is not much that is artistic about it, and some of the production values are rather bargain bin, to put it mildly.

But in terms of everything coming together just right, it is perfect.  Sure it's corny, but the charm meter is off the chart.  And it has a great gift for rhyme.

The Princess Bride will forever be a reminder to me of one of the chief functions of film; it is peerless entertainment.  On that basis alone, and even though other films might get a higher score from me overall, I say that it is the best film you can watch that starts with the letter "P."

Entertainment: 10/10
Artistic Value: 3/10
Technical Merit: 5/10

Overall: 8/10
(P.S. This score represents some changes from my first review.  I have the hardest time thinking about the technical side -I really think most of the poor production value stuff is purposeful.  But even so, there is so much technically that could have been done so much better.)


Runners Up for the Letter "P:"

• The Philadelphia Story (1940)
• Psycho (1960)
• Planet of the Apes (1968)
• The Pride of the Yankees (1942)
• Pulp Fiction (1994)
• The Prestige (2006)
• The Poseidon Adventure (1972) -Not really a great film, but since it was my parent's first date, it gets an honorable mention.  It at least leads to great things!

Best of the Letter "O:" On the Waterfront (1954)

"You don't understand!  I coulda had class.  I coulda been a contender.  I coulda been somebody, instead of a bum, which is what I am, let's face it.  It was you, Charlie."

Classic scene, perfectly acted.  But there's another scene that rises above as my favorite:

Father Barry stands up from performing last rites for Dugan, then looks up at the mob of workers and begins to preach: "Some people think the Crucifixion only took place on Calvary.  They'd better wise up!  Taking Joey Doyle's life to stop him from testifying is a crucifixion.  And dropping a sling on Kayo Dugan because he was ready to spill his guts tomorrow, that's a crucifixion.  And every time the Mob puts the pressure on a good man, tries to stop him from doing his duty as a citizen, it's a crucifixion. And anybody who sits around and lets it happen keeps silent about something he knows that happened, shares the guilt of it just as much as the Roman soldier who pierced the flesh of our Lord to see if he was dead."
A call then rings out from above "Why don't you go back to your church?"
The priest's voice roars up with righteous anger as he points to the body at his feet, "Boys, THIS is my church!  And if you don't think Christ is down here on the waterfront you've got another guess coming!"

I LOVE this movie.  Perfectly written, beautifully filmed, flawlessly directed, with iconic performances from some of the 50's greatest actors -Marlon Brando, Karl Malden, Lee Cobb, and Eva Marie Saint in her first feature role.

This is a movie our country needs today, the reminder that corruption, short money, and violence to protect power always tears everything and everyone down.  This is also the movie Hollywood needs to remind them how to make a good film with real heroes and believable villains.

Inspiring.  Exceptional.  A work of genius and beauty.  Do not miss it; On the Waterfront is the best film you can see that starts with the letter "O."

Entertainment: 8/10
Artistic Value: 10/10
Technical Merit: 10/10

Overall: 10/10


Runners up for the letter "O:"

• O Brother, Where Art Thou? (2000)
• One Flew Over the Cuckoo's Nest (1975)
• The Outlaw Josey Wales (1976)

Best of the Letter "K:" The King's Speech (2010)

Every once and a while a drama comes along that really is as good as they used to be.  The King's Speech is a tour de force of acting and phenomenal storytelling, one that comes together in all the right ways.

Colin Firth simply dazzles as King George VI, a monarch with a rather large problem -he stutters.  He is terrified of speaking in public, an undesirable quality for a guy who's very life involves speaking in public.  Geoffrey Rush is the speech therapist who finally is able to help him past the rather massive impediment and able lead his people with clarity and competence.  This movie belongs to Colin Firth.  His performance is hands down the best acting job of the past 5 years.  The opening scene, in which the prince (and future king) waits to deliver a speech, contains some of the best and most subtle acting of perhaps any single movie scene in my memory.  Firth simply looks sick with anxiety.  It immediately gets the audience on his side and makes him a sympathetic character.

It's all about the journey, and by the end we can sympathize with the rather remarkable progress that he has made to overcome his problem and deliver a brilliant and inspiring oration that became a lighthouse signal to guide Britain through the fog of world war 2.

This is an amazing film, and the best film that begins with the letter "K."  Highly recommended, though viewers should be aware of two scenes that contain strong language.

Entertainment: 6/10
Artistic Value: 9/10
Technical Merit: 8/10

Overall: 8/10

Runners up for the letter "K:"

• King Kong (1933)
• The Killing (1956)
• The Karate Kid (1984)
• Kagemusha (1980)

Best of the Letter "H:" High Noon (1952)

We're going to get this out of the way right now: you will get utterly sick of the "High Noon Ballad (Do Not Forsake Me, O My Darling)".  This tune plays nearly incessantly throughout the full movie.  On top of being a bit dated, the tune is also rather out of date by today's standards, rating on the "cool song, bro" scale somewhere between "Buffalo Gals Won't You Come Out Tonight" and "The Ballad of Davy Crockett."

Aside from that song, this is a thoroughly wonderful, amazing, spectacular movie.  Few have been as influential on how we think of westerns, with the concept of the lone hero facing off with the gang of misanthropes at (you guessed it) High Noon.

Gary Cooper does his dead level best, starring as well as anyone could as Marshal Will Kane.  He grows increasingly distressed by how the town he protects refuses to help either him or themselves, and his fury is seen, yet remains below the surface.  This is also Grace Kelly's (that is princess Grace of Monaco to you) first starring role in a movie, and it becomes quite evident why she hit the big time after this one.

The themes established are poignant: pacifism vs protecting those you love; honor vs revenge; justice vs injustice; doing what is right even when everyone deserts you.  The themes are laid out, teased out, and the suspense builds.  By the time Frank Miller comes to town the suspense is high and the time is noon.  And then the classic showdown, well-planned action, and perfect denouement play out.

Westerns don't get much more classic or iconic than this, making High Noon the best film you can watch that begins with "H."

Entertainment: 8/10
Artistic Value: 10/10
Technical Merit: 9/10

Overall: 8/10

Runners Up for the Letter "H:"

• Harvey
• Hoosiers
• The Hunt for Red October
• Hotel Rwanda

Best of the Letter "G:" The Godfather (1972)

Many people have described The Godfather as the best mob movie ever made.  I disagree.  At its heart, I don't believe The Godfather is about organized crime.  Distilled to its essence, this is a movie about a father and son; how their relationship is strained, tested and reconciled, with the transforming to become like his father.  It is about the effort to protect a family, to care for loved ones, and to make right certain wrongs.  Under normal circumstances these would be noble goals on a path of virtue.  But the circumstances of the Corleone family in The Godfather are anything but normal, which makes the character arch and journey of Michael Corleone one of the great tragedies of American cinema.  And this story -when combined with some of the best acting, writing, and deliberate pacing of all time -makes The Godfather one of the best and most perfect films ever.

Godfather and son

So yeah, it's a family movie.  It's about the mob, killing people, drugs, and very horse's head serious threats.  But at heart The Godfather is a movie about a family.  And this family has love and anger and issues just like any other family.  But this family also deals in death.

This is where The Godfather succeeds so masterfully.  The criminals here are not shallow black-hatted caricatures that simply act evil as a foil to showcase the pure motives of the good guy.  Here we have no "good guy" as we might have expected previously.  Instead, all the bad guys have good in them, while at the same time all of the "good guys" (well, the main characters anyway) have great capacity for evil.

This movie has it all, and does it all exceedingly well.  Never has a film done acting better, the direction is top-notch, and the screenplay is legendary.  The Godfather has very few, if any missteps, and the result is simply wonderful.  This is one of the great dramas and tragedies of our age, especially when combined with part 2.  Don't miss this one!

Entertainment:  9/10
Artistic Value: 10/10
Technical Merit: 10/10

Overall: 10/10


Runners Up:

• The Great Escape
• The Good, the Bad, and the Ugly
• Guess Who's Coming to Dinner
• The Goonies (just kidding.  But seriously, goonies never say die.)

Best of the Letter "F:" Fiddler on the Roof (1971)

Charming, somber, grand and fun and full of greatness.  Fiddler on the Roof is one of the best musicals of all time, and a perfect adaption of a play for the silver screen.  Carried by the singularly brilliant and enormously entertaining performance of Topol as main character Tevye,  Fiddler is a great example of what can be done in the musical genre.

Depicting the plight of Jews in early 20th century Russia, Fiddler addresses the question of how the distinctive, chosen people maintain their identity in a changing world.  In one word?  "Tradition!"  "Without our traditions, we would be a shaky as a fiddler on the roof!"

Some of the best musical numbers of all time are found here: "If I Were a Rich Man," "Sunrise, Sunset," "Matchmaker," "To Life," "Do You Love Me?," and of course "Tradition!"  Combine these great musical pieces with great dancing, acting, and meaning, and you have the stuff of memories.

Even the part I can't stand is fitting.  Ever since my first viewing I have hated the song "Wonder of Wonders," as sung by the geeky tailor Motel.  Musically the song is a wreck, the choreography basically has him scampering through the woods in a completely awkward manner, even the cinematography changes style to something more jerky, so that everything adds up to a giant, glaring cancer of discomfort in the middle of an otherwise healthy and beautiful film.  And yet on further consideration, I have to admit that the song absolutely suits the character, and in his joy at that moment he doesn't care what I think of him.  That in itself is kinda beautiful, even if I still fast forward through the scene when I watch the movie.

The characters are memorable, the plot is full of beauty and heartache, the sets are wonderfully dirty, and the lighthearted moments are as frequent as the somber ones.  Fiddler is a film for the ages, a great performance by Topol, with some of the most iconic moments in musical history.

Watch it and enjoy.  It's the best film that begins with the letter "F."

Entertainment: 8/10
Artistic Value: 9/10
Technical Merit: 7/10

Overall: 8.5/10

Honorable Mentions for the letter "F:" (and there are many)

• The French Connection
• Fight Club
• Fargo
• A Few Good Men
• Finding Nemo
• The Fugitive
• First Blood
• The Fifth Element  (for you, Dave)
• Fantastic Mr. Fox

Best of the Letter "E:" The Empire Strikes Back (1980)

Here's just a bit of trivia about me: by the time I was 9 years old I could quote every line of the Star Wars trilogy.  I still can quote every line of all three Star Wars movies!  (And yes, there are only 3.  There are also a few hideous usurpers that deserve not the name, but there are only 3 Star Wars movies.)

Star Wars is why I originally fell in love with movies.  I had the toys, and I still play the video games.  I have so many fond memories about these films that re-watching one of the movies is like revisiting childhood lane.
But of course, films do not always age well.  Something you love as a child may not be as sparkling awesome as an adult.  Star Wars is really no exception.  What I thought was flawless as a child shows cracks when I grew up -cracks like bad acting, some examples of poor writing, and Ewoks.

Does it get more iconic than this?

And yet The Empire Strikes Back is different.  Episode V took the world of Episode IV and expanded on it and perfected it.  Somehow actors who had somewhat wooden deliveries in Episode IV became much better actors.  Somehow the writing became much more polished and smooth.  Things that were fun became phenomenal.  Special effects were kicked up a notch.  Icons became, well, more iconic.  Even the music improved with the addition of the Imperial March.  (It's might be noted that perhaps the reason it is the best of the series is that Lucas had the least control over it...)

Star Wars has never been better than The Empire Strikes Back.  Darth Vader has never been more ultimately evil, and his character still remains one of the best villains of all time.  Han Solo is the most lovable, heroic scoundrel of all time.  Yoda is the greatest bad-grammar-makes-you-seem-smarter pseudo philosophers of all time.  The action is fantastic, the themes are timeless, the story is somber, and the scope is epic.

Sure, the movies is not perfect.  But it does everything it needs to do perfectly.  It sparks the imagination, is undeniably entertaining, and develops a universe that fans still love to inhabit.

And it is the best movie you can watch that starts with the letter "E."

Entertainment: 9/10
Artistic Value: 5/10
Technical Merit: 7/10

Overall: 8/10


Runners Up for the Letter "E:"

• Eternal Sunshine of the Spotless Mind
• Elf
• The Exorcist
• The Emperor's New Groove
• Extremely Loud and Incredibly Close

Best of the Letter "D:" Das Boot (1981)

Submarine movies tend to have a clausterphobic tenseness that is simply unlike other kinds of movies.  And of all submarine movies, Das Boot is king.  There had been submarine movies before, and lots since, but Das Boot was and remains the best.  And on top of it all, it is also a fantastic overall film

Director Wolfgang Peterson weaves together a magnificent tale of a German U-boat  and its adventures on a mission during world war 2.  What is immediately noticeable is that these are not evil men, nor Nazi robots.  They are not faceless or nameless or without basic qualities of human life.  They are men, no more so or less so than any of us.  For me this represents a "humanization" of the enemy.  I was raised a red-white-and-blue blooded American, and most of the movies about WW2 that I've seen present Germans as more or less stereotypical bad guys.  Germans of the 30's and 40's in film are typically wicked or simple nameless uniforms -an obstacle for the hero to overcome but certainly not people in their own right.  I mean, the Germans of WW2 couldn't have been caring or capable of heroics, could they?

We need movies like Das Boot to remind us what war makes us often forget: that people on the "other side" are still people.  And there is nobility and goodness possible in them.

Ok, let's get this out of the way: Das Boot is filmed entirely in German, which means I need English subtitles to understand it.  And I like it that way.  It means it is much more authentic and real.  Don't let the subtitles put you off or you will miss out on one of the most human war tales of all time.

And the realism stands out.  Other movies have imitated that tense wait for depth charges and the harrowing, violent chaos as the explosions come.  Yet none have ever done that experience as well.  Das Boot will bring the viewer into that confined space with those crewmen, and even for only a minute we feel part of that terror.

After a while we feel like we know these men.  We share with them the terror of the depth charge bombardment, the frustration of trying to make difficult repairs, the joys of wind in the face and the thrill of the hunt.  And we share in their humanity as they weep over having to leave stranded sailors from a torpedoed ship, knowing they will drown.  That scene is one of the most effective anti-war war scenes of all time.  They have rejoiced over hitting the ship with a torpedo a few hours previous, yet weep when they realize that the sailors on the now sinking ship will not be rescued and are doomed.  They killed them, yet did not want them to die.  It's an amazing and effective scene.

Anyway, watch Das Boot.  You'll cheer for the crew, then feel conflicted.  You'll see a great example of action film making.  And you'll be watching the best movie ever that begins with "D."

Entertainment: 10/10
Artistic Value: 8/10
Technical Merit: 10/10

Overall: 10/10


Runners up for the letter "D:"

• Die Hard
• District 9
• The Day the Earth Stood Still (1951)

And films worthy of mention: Deliverance, Dawn of the Dead, The Departed 

Gravity (2013)

Currently doing great at the box office, generating fantastic word of mouth, pleasing critics and crowds alike, and generating not a little pre-Oscar buzz, Gravity is the current "it" movie.  Telling a harrowing tale of astronauts stranded in space, Gravity is exciting and tense, an action packed tale of trying to survive in a quite inhospitable place.

And it works.  In so many ways, Gravity is a great movie.  It pushes the envelope of what can be accomplished in making a movie, to the point where you might be forgiven for thinking they really had filmed this movie in space.

It's the action, visuals, and special effects that shine the brightest in Gravity.  Everything looks absolutely stunning.  In some shots so much is happening at once on screen that it is impossible to keep track of everything in the chaos.  There are long character point-of-view sequences (where the audience sees out of the eyes of our protagonist) that are brilliantly done.  And there is a technically flawless shot that takes us from observing an astronaut tumbling through space, zoom in and into the helmet, shows us what she is seeing, then pulls outside again in one unbroken shot (stunning).  But what works better in some cases is the small stuff -the way fire behaves in zero gravity,  or the way a tear floats out from an eye rather than down the face.  Truly, Gravity makes all the space stuff in Apollo 13 seem crude and unpolished.  It just looks that good.

There are a few other things that stand out.  When Ryan (Sandra Bullock) establishes some contact after long radio silence she (and we) are elated to hear another voice.  The way she latches onto the smallest familiar sounds help us understand just how isolated and lonely she must be.

I also loved how space is treated the way space actually is -silent and completely hazardous.  If there is no air, no radio, and no physical contact, then there is no sound.  So space stations can explode only meters from Ryan, but there is no noise.  And if she is using a drill, we only hear a noise that travels through her glove and into the air of her suit.  It's all subtle and marvelous.  Honestly, there can be no other serious contender for Best Sound Mixing.  Come to think of it, Gravity should run the tables on most of the technical Oscar categories.  The only sad thing is that the movie had to open with a wall of text explaining that space is silent -I assume the average audience just wouldn't know this basic fact.

But let me tell you, all the good only heightens for me the unrealized possibilities (and downright drawbacks).  There are really only two characters in the film, played by Bullock and George Clooney.  Bullock plays her character with drive and some subtlety, leading many to think this might be her second Oscar performance.  However, her character simply isn't really developed all that much.  And George Clooney plays George Clooney.  Ok, SPOILER ALERT!!  SKIP TO THE NEXT PARAGRAPH IF YOU DON'T WANT TO KNOW A RATHER BIG PLOT POINT!  Clooney's character is played as a professional, but rather self-absorbed.  But the self-absorption angle plays against the completely selfless sacrifice he makes to help Ryan.  His character is so flat, so nearly emotionless that it is hard to feel anything for him either.
SPOILERS END.

I didn't like the abundance of action.  In itself, action is not a bad thing.  However, Gravity tries to be reflective as well, attempting to address the big issues like "why try to live when everyone dies eventually?" and the precariousness of life as we tumble through space.  The action is so unrelenting that it tends to work against such reflections; spectacle substitutes for substance.  Eventually whatever points the movie is trying to make just feel shoehorned in and underdeveloped.

SPOILER ALERT AGAIN!  SKIP TO NEXT PARAGRAPH AGAIN TO KEEP AWAY FROM SPOILERS!  The way that things only blew up when Ryan was around also tended to frustrate me.  I mean, the debris plays havoc with the international space station, but there is hull integrity and such when she arrives.  But give it a few minutes and WHAMMO, everything's blowing up.  Then she gets to the Chinese station, it's rather intact still, then WHAMMO, everything's blowing up again.  Ryan is either serious bad luck to be around, or stuff was just waiting to explode until she got there.  Actually, it's all done in the name of plot convenience, a device I don't particularly like.
SPOILERS END.  IT'S THE LAST TIME, I PROMISE.

So yeah, there are things that definitely could have been improved.  But on the whole Gravity is fresh and fun.  It deals with space better than any movie since 2001: A Space Odyssey.  Though it fails to become the intellectual equal of 2001, still I found myself drawn to compare the two movies -which itself should tell you how good Gravity is.

Entertainment: 8/10
Artistic Value: 6/10
Technical Merit: 9/10

Overall: 7.5/10

P.S. I'm conflicted about "artistic value."  I think Gravity opens the door on a number of good themes and artistic statements.  I'm just not convinced that it deals with them in any meaningful way.

Best of the Letter "C:" Casablanca (1942)

Casablanca is the best movie that has ever been made.  There, I said it.  Films simply do not get more iconic, more influential, more perfect, nor more beloved than this.

I love movies and books that are written with wit, so it is natural that I should love this one.  Practically every line is quotable, yet none of the lines (aside from perhaps "Looks like destiny has taken a hand.") are delivered like they intend to be quoted.  The dialogue is sharp, yet natural.  The people act like people should, yet each one begins to symbolize large segments of humanity.  This is a masterfully written film.

By the way, Casablanca contains my favorite put-down of all time: Ugarte: "You despise me, don't you?" Rick: "If I gave you any thought I probably would."  (ouch!)

Never has a film had a better cast: Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Sydney Greenstreet, Peter Lorre -we're talking an extravagance of acting riches here!  

The cinematography is perfection in black and white.  All black and white films should look to Casablanca for instruction on how to frame a shot, how to showcase an actor, and how to contrast shadow with light.

The story is perfection in simplicity.  Sure, there are the bad guys and good guys.  But in the midst and confusing everything are the politics of love and the question of remaining morally neutral.  Will Rick do what is right, or will he try to get revenge on the girl who jilted him -or will he try to steal her from her husband?  Will Louis carry out the evil desires of the Nazis by trying to keep somewhat neutral?  Or will he finally stand up for what is right?  By the end everything turns out the only way it can and truly be called a happy ending.  "We'll always have Paris," and "the beginning of a beautiful friendship."

How does a movie get better than this (aside from better model plan special effects)?  Equal parts charming, sweet, earnest, and important, Casablanca is the best movie you can see that starts with "C."

Entertainment: 10/10
Artistic Value: 10/10
Technical Merit: 10/10

Overall: 10/10

Runners up for the letter "C:"

• Chariots of Fire
• Citizen Kane
• The Civil War -by Ken Burns (yes, a documentary)
• Chinatown

Best of the Letter "B:" Ben-Hur (1959)

One of the most celebrated films of all time, Ben-Hur is an epic masterpiece.  Charlton Heston stars as Judah Ben-Hur in this classic tale of friendship, betrayal, and revenge.  Betrayed by a close friend, Judah finds himself no longer rich and privileged in Jerusalem, but condemned and enslaved on a Roman galley.  But this is a hero's journey, so when Judah saves the Roman commander during a battle he gains wealth, status, and everything he needs to pursue his revenge upon his betrayer.

And that's the theme on which things get special.  You see, the subtitle of the film is "A Tale of the Christ."  The movie opens with the nativity, and Judah encounters Jesus on several occasions.  Never once do we see the face of Christ, nor do we hear his voice.  Yet the stamp of Christ is all over the course of Judah's life.  This film is as Christian as they come, and it is also one of the greatest stories written.  Judah is given every reason to hate, reason to strike out in war against his enemies.  Yet the person of Jesus calls to him, and the voice of Jesus instructs him.  There, on the hill of calvary, Judah witnesses the crucifixion and returns to his home a different man.  He speaks to Esther with wonder, telling her how even on the Cross Jesus prayed "Father forgive them, for they know not what they do."  And then Judah tells her, "and I felt his voice take the sword out of my hand."

It is in forgiveness that Judah gains true victory over his enemies, and he also learns how God works in both subtle and miraculous ways.  It is a beautiful, wonderful story fully worthy of every accolade that might be given.

When it comes to production values, Ben-Hur still ranks among the top best movies ever made.  Granted, there are a few points where things break down a bit -the rather sad looking naval battle is the low point.  But overall there is no mistaking the grandeur of everything you see.  And in particular, the famed chariot race is still one of the most exciting and spectacularly filmed action sequences of all time.  The stunt work, camera work, and (of course) horsemanship, are all fantastic.

Listen, movies just do not get much bigger or better than this.  Ben-Hur is one for the ages, fully deserving the 11 Oscars it won.  And for the record, the other films that have since won 11 Oscars could not claim to deserve all of them.  Ben-Hur is in a league of its own.

Entertainment: 9/10
Artistic Value: 10/10
Technical Merit: 9.5/10

Overall: 10/10

Runners up for the letter "B:"

• Blade Runner
• Babette's Feast
• Brazil
• Braveheart

Best of the Letter "A:" Alien (1979)

Simultaneously one of the best horror and science fiction films of all time, Alien is simply good film making.  From the opening credits to the final moments, director Ridley Scott creates a terrifically tense, eerie and exciting tale of a voyage into the unknown.

It's hard to come up with anything that doesn't work in Alien.  The special effects are still great, the set design and art are simply perfect, the alien design is iconic, and the script is much better than you might give it credit for before viewing.  Even the poster is great, with that quite memorable tag-line, "In Space, No On Can Hear You Scream."

Basically, the plot is about a group of truckers exposed to a parasite by an evil corporation.  It's just that the truckers work in space and the parasite is, well, an alien.  But it is that simplicity in the plot that makes it work so well.  These are normal people in an abnormal situation.  Sure, it's hundreds of years in the future, but they are still normal people worried about normal things, like paychecks and bad food.  Oh, and they are also worried about whether the giant space monster will eat them before they can kill it.

Deride the choice all you will, Alien is a genuinely great film that deserves all the accolades it has received, along with many more.  And it fundamentally changed perceptions on what a science fiction movie could be.

Entertainment: 9/10
Artistic Value: 7/10
Technical Merit: 9/10

Overall: 9/10

Runners up for the letter "A;"

• Amadeus
• Anatomy of a Murder
• Aliens 
• An American in Paris

Sergeant York (1941)

Winning two Academy Awards (including Best Actor for Gary Cooper) and nominated for 9 others, Sergeant York is an acknowledged classic and overall fine movie.

It also happens to be a very timely movie, having been released only a little over 2 months before Pearl Harbor in 1941.  At that time America's foreign policy was still naively isolationist -the rest of the world was at war and we thought it could not affect us.  Pearl Harbor would wake us up from that slumber.  But Sergeant York had its own part to play as well, exploring the reasons not only for war itself, but how a good man might fight a just and honorable war.

Gary Cooper plays Alvin York, a simple country hillbilly from rural Tennessee.  This is a movie that deals with war, but it is not about the war.  The movie is about the man.  So most of the movie's run time deals with the life and changes of the title character, from his early days as a rough-and-tumble drunkard to his religious conversion to conservative evangelical Christianity.  He goes from bar fights to teaching Sunday School.  He changes from fighting all who stand in his way to humbly asking forgiveness.  He changes from a violent man to a pacifist, who believes that the Bible forbids all forms of violence.

So when the army comes along and drafts him for World War I, Alvin York has a dilemma.  How can a man dedicated to the Bible -which teaches, in his understanding, pacifism -go to war to kill for his country?  He fights the draft, debates with himself and his superior officers, and finally resolves to trust God and "render unto Caesar what is Caesar's, and to God what is God's."

He goes to war, and ends up one of the most highly decorated American soldiers in the conflict.  In the midst of a firefight, York single-handedly killed at least 28 German soldiers and captured 132.  Let me repeat that, lest we fail to be amazed at the feat: he killed 28 enemies on his own, and captured 132 by himself!  It is one of the most remarkable actions in war that I have ever heard of, one that earned York praise and adulation upon his return to America.

Yet Alvin York was not proud of the blood he spilled, nor did he capitalize on it for financial or other gain.  He did not revel in taking lives; he killed the enemy not because he hated them, but because he wanted to save the lives of his friends.  War, you see, might be necessary at times for justice to reign.  Lives might be saved, but only if men are willing to stand and fight for what is right.

America needed these reminders, and many others like them, at the dawn of our involvement in World War 2.  But even more we still today need the reminder that war is ultimately not the answer; the ways of God outlined in Scripture make for a much better foundation for a good life than violence.

Entertainment: 7/10
Artistic Value: 8/10
Technical Merit: 8/10

Overall: 8/10

Blade Runner (1982)

Science fiction movies are often interesting, yet offer very unrealistic visions of the future.  Many times the future is some sterile, polished, Jetsons-like reality where everyone has moon boots and jet packs.  Other times the future is a tired and cliche post-apocalyptic, dystopian, Orwellian nightmare.  Very few project an image of the future that is advanced, yet believable.  A place where culture has evolved and technology has made great improvements, and yet people remain people and under the veneer of progress there is still poverty, filth, and decay.  Blade Runner is a movie that hits all the latter notes just right.

Two things impact the viewer of Blade Runner almost immediately upon beginning to watch: the scope of the world it creates, and the majestic style in which that world is filmed.  Blade Runner's Los Angeles of the future is a crowded, dirty, dark and industrial cesspool of a place to live.  It is constantly raining and nearly always dark, even somehow dark during the infrequent moments of the film that occur during daylight.  The sprawl of the city is huge, with a sea of fire in what can only be an industrial section, and with buildings that tower to great heights above the common refuse of the street.  The clothing styles are absurd, the amusements depraved, the conditions crowded and filthy, and a general feeling of rot settles over everything.

And yet in the midst of the sprawl of urban decay and ugly streets there is also the presence of beauty.  In one of the earliest images from Blade Runner we get a close up shot of a man's eye, and in his eye we see the reflection of thousands of lights.  It is the lights of Los Angeles at night looking like so many stars.  It's a remarkably beautiful shot.  This single shot also highlights the movie making prowess of director Ridley Scott as well as the art and cinematography departments.  Despite how close the camera appears to the eye, there is no reflection of the camera there.  It is gloriously great work.

Blade Runner is just filled with iconic images like that.  There's the wonderfully fabulous looking flying cars, made to fly with special effects that hold up flawlessly today.  There are the delightfully odd looking toys in Sebastian's house.  There's the live bug in Deckard's drink, the image of the dove flying away in the rain, and the airship broadcasting the amazing benefits of living off-world.  And, of course, there are the advertisements that take up the entire side of a skyscraper, and the iconic beam of light umbrellas.  Blade Runner is quite simply a visual treat, doing everything flawlessly.

You might expect that such a visual movie may simply be about action and little substance.  After all, most science fiction films today simply have advanced technology for the sole purpose of having advanced explosions and faster speeds.  But not Blade Runner.

Blade Runner is a science fiction story in the true, classic sense of the term.  It uses its fantastic and implausible setting to make a serious statement about life.  The fictional story in an imaginary world raises deep and important questions about the real world and actual human existence.  Blade Runner is great entertainment, but it also wants to make us think.

Deckard (the best role Harrison Ford has ever played) is a Blade Runner, a special kind of policeman.  He tracks down, identifies, and kills (it's called "retiring") replicants.  A replicant is an artificial person, what we might call an android, or even robot.  These are not metalic beings, but creatures of flesh and blood, genetically engineered for strength, beauty, or some other utilitarian purpose.

"I've seen things you people wouldn't believe...
...all those moments will be lost in time, like tears in rain.
Time to die."

Replicants are not allowed on Earth, they are to be hunted down and destroyed -which is where Deckard comes in.  The story itself is great, but the themes that it brings up are deep and profound.  If you make an artificial human who thinks and emotes and experiences life as you do, are they "real" or "artificial?"  Would a creation of your be your property, or would it have some right to its own life?  What does it meant to be real, to live, to have a soul?  Does a creator have the responsibility to act in the best interests of his/her creation, or is he/she permitted to create purely from pragmatic self-interest?  Of what use is a life, and all that life experiences, in view of the eventual and unavoidable reality of death?  What is right and wrong?  What, after all, is the point of existence?

"It's a shame she won't live!  But then again, who does?"

Bringing all the high-concept philosophy together is the writing (which is masterful), the direction (flawless), the art (already spoken highly about that), the acting (marvelous, especially Rutgar Hauer), and the action (exciting).  I can think of nothing in this movie that is not done well.  Extraordinary.

Entertainment: 8/10
Artistic Value: 10/10
Technical Merit: 10/10

Overall: 10/10

P.S.  This review applies to the Final Cut of the film.  The theatrical and "directors" cuts are decidedly inferior, in my humble but correct opinion.

By the way, the movie is based on the Philip K. Dick novel Do Androids Dream of Electric Sheep?  Now, we never get to see any electric sheep, but we do often wonder about the unicorn.  If replicants can have false memories, could they then logically dream of false creatures?  And if Gaff made Deckard an origami unicorn, could he be telling Deckard that he knows what he dreams -perhaps even knows his memories?  Is the blade runner actually a replicant?  Ultimately, what assurance do any of us have that we are "real?"

Red (2010)

Some movies are just plain fun.  Red is one of those movies.  It could have been an average to poor action movie.  It could have taken itself too seriously, and become a common, moderately interesting but ultimately forgettable flick.  Luckily, the director and actors decided not to take themselves too very seriously.  They planted their tongue firmly in their cheeks and simply had fun.

The result is just marvelous.  I won't bother you with the plot, the whole thing is unimportant really.  What is important is that we have a stellar cast enjoying themselves greatly.  Especially John Malkovich.  I love watching Malkovich work in anything, but here he steals the show in every scene in which he appears.  If the rest of the cast make the movie fun, Malkovich provides the glee.

The writing is great.  Again, not the plot, but the wit and way it is written.  Red pokes fun at all the conventions of action movies like James Bond in almost every line.  As an example, at one point two elderly spies are laughing about the "good old days" when they were commonly in action, and one laments "I haven't killed anyone in years!"  To this the other replies with a straight face and a touch of genuine sympathy, "that's sad." 

If you like action, and if you like to laugh, take a look.  This one is just plain fun.

Entertainment: 9/10
Artistic value: 6/10
Technical merit: 5/10

Overall: 7/10

P.S.  I inflated the "artistic" category more than some might think on this one idea: perhaps there is a serious statement here about how absurd most action movies are.  Is it an artistic critique of the action genre?  Maybe.  Frankly, I just enjoy it.

Man of Steel (2013)

I've been mulling over Man of Steel for a few weeks since I've seen it.  This one has really gotten a split reaction from the Superman fans out there, and I wanted to take time and consider what my impression really was.

So here it is: I'm a fan of Man of Steel.  It's not because the writing is fantastic -it's not.  It's full of too-obvious metaphors, over-dramatic speeches, and one-note forgettable characters (even most of the main ones).  I mean, Man of Steel begins with what amounts to a reverse virgin birth, and lays on the Messiah complex rather strongly in almost everything that follows.

Nor did I love Man of Steel for the settings.  Smallville is basically "typical small midwest town #4," and Metropolis is simply a collection of nondescript buildings.  But I guess that's ok, since both are pulverized to non-recognition anyway.

There are other things not to love.  There is nothing memorable in the acting, nor remarkable in the way the story is put together and executed.  And since I hate shaky-cam cinematography during non-action scenes I was not impressed with the camera work either.

But let's not forget what the movie does right.  This is a film about Superman, and it shows us a vision of the character not seen before yet still consistent with him.  I loved how we were shown a young Clark just beginning to discover his powers -and that he is terrified by them rather than happy.  I loved how Clark is shaped by the vision and wisdom of two fathers, trying to hold their ideals in tension as he faces a threat to what he holds dear.  I liked that Lois Lane tracked down Superman's secret identity.  I loved the way Superman's flying felt new and fresh and powerful, despite the fact that we've seen flying heroes in many other films now.  On the other hand, the special effects often suffered due to some poor execution (like how he jumped unnaturally on the oil rig) or simply because at times far too much was happening for the audience to understand the action.

Overall I just plain found the movie fun.  It was a fresh take on the mythos, and an enjoyable beginning to what hopefully becomes much more.

Entertainment:  10/10
Artistic Value: 4/10
Technical Merit: 7/10

Overall: 7/10

The Killing (1956)

Stanley Kubrick demonstrated time and again that he was a director far ahead of his time.  In 1956 he directed The Killing, a crime drama about a group of men with a plan to steal $2 million at a L.A. horse racing track.  It comes off feeling a bit like Ocean's Eleven, only with real character development and little comedy.

The Killing was like no other film before it, and few since have done its techniques as well.  Sure, there were plenty of crime dramas, and plenty of gangster films, but this one is a breath of fresh air in what was already becoming a stale genre.  Kubrick accomplished this in two specific ways.

First, the story is told in several parallel lines.  One of the conspirators will be shown doing his part of the heist plan, and then another will do his part, beginning prior in time to what was already seen.  It's not nearly as confusing as it sounds, and a narrator is a huge help as he continuously gives what times certain events happen.  Of course, even though this technique works well for the film it does come across a bit overdone.  I mean, there is only so many times you want to hear that the horses are getting ready for the 7th race before it feels old.  Other films have copied this technique Kubrick used in The Killing, but here it feels fresh, original, and very pivotal to a proper understanding of all that happens.

The second truly standout feature of The Killing is the character development.  Each of the conspirators has a different motivation for being involved in the plot, and these motives are all quite believable and natural.  They are thieves, sure, but not because they only greedy or evil.  These seem like real people, with real problems who approach this heist as a real solution.  As a result, you find yourself rooting in a way for these criminals.  They are smart and cunning, yet human and failing.  The audience can relate to them, since they are not simply denounced as wicked "black hat" bandits from some simplistic western.

I loved The Killing.  I liked the understated and largely unpretentious acting.  I thought the plot moved along with a fresh and lively pace that kept me engaged.  And I loved how the end seemed to reference the Humphrey Bogart masterpiece from 1948 The Treasure of the Sierra Madre.

This one is a hidden gem, a film I'd not heard much about prior to seeing it.  But it really is a great and unforgettable film that deserves a place among the movie greats.

Entertainment: 8/10
Artistic Value: 7/10
Technical Merit: 8/10

Overall: 8/10

The Great Escape (1963)

On March 24, 1944 several hundred prisoners in the German prison camp Stalag Luft III put into action a plan they had been working on for over a year.  This was a new camp, one boldly called "escape proof" by the Luftwaffe.  But you see, they hadn't counted on the ingenuity of their RAF prisoners.  And that night 76 prisoners managed to go through their tunnel and escape the camp.

The Great Escape is the Hollywood adaptation of that story.  Clearly, many things are changed in the story. James Clavell, the screenwriter, obviously had his orders to make certain changes to make the story appeal to more than just British audiences.  So Steve McQueen, for example, has quite the starring role as one of the three Americans in the movie who never existed in real life.

The result of it all, inflated history as it is, is nothing short of a brilliant movie delight.  Everything, particularly the writing, is simply marvelous.  The first half of the film plays out almost as comedy, as the prisoners outwit and outmaneuver their German captors.  The second half then is pure action adventure, as the 76 who managed to get through the tunnel do their best to make it to freedom.

Of course there are the iconic elements involved; the music, the image of Charles Bronson crawling through the tunnel as he digs, and of course Steve McQueen bouncing his baseball around in the "cooler."  If you have never seen it, you must; The Great Escape is both amazing entertainment and unbelievable history.

Entertainment: 9/10
Artistic Value: 6/10
Technical Merit: 7/10

Overall: 9/10

P.S.  It has its drawbacks.  1.The ending is weaker than the rest.  2. Some of the actors are not as good as the main players. 3. I think an opportunity was missed to make some greater artistic points in the midst of the action and wit.

In spite of whatever drawbacks might be found, this is still a greatly wonderful movie, one nearly impossible to improve.  Bottom line: The Great Escape is one of the most fun and watchable (and re-watchable) movies of all time.

Iron Man 3 (2013)

I love superheros.  I love movies.  The confluence of these powers renders me a geeky mess.  It's just a weakpoint.  I know that superhero films rarely are good enough to win oscars (aside from visual effects), but I love them anyway.

So what about Iron Man 3, the film currently smashing open the box office?  Simply put, this movie rocks, and may be among the better comic book films yet made.

I like Iron Man.  Of all the Marvel comics characters, he's one of my favorite.  I like guys who are more or less normal, who find ways to become a hero that doesn't rely on the dumb luck of being bitten by a radioactive bug (which is probably why my favorite superhero of all time is Batman).  In the Marvel universe, Iron Man is that guy -normal human with typical personality defects a flaws.  In the comics Tony Stark battle alcoholism and anxiety attacks; he never is presented to the reader as a perfect guy who can do no wrong.

All that said, Iron Man 3 gets Tony Stark right.  Even more so than the first Iron Man movie, the third really seems to get in Tony's head and understands him.  All in all, Iron Man 3 just might be as good a movie about Iron Man as I could have hoped.

However, it is not a film for fans of the Mandarin.  No spoilers here, but if you know your comics, and regard them as sacrosanct, what happens in the plot regarding Mandarin will leave you aghast to say the least.  But hey, we need to remember that the movie is not the book, nor should it be.  For the movie, what they chose to do with the character made sense and worked exceptionally well.

And the payoff is amazing, with the film culminating in a few great action sequences, including a terrifically filmed freefall/skydive rescue.

The acting is fine, though nothing too terribly outstanding.  Robert Downey Jr. clearly has fun playing his now-iconic character for the fourth time.  Gweneth Paltrow has a lot more to do in this one than in the second or in The Avengers, and she makes the most of it.  Sir Ben Kingsley has way more fun than he should be allowed to have playing Mandarin.  And Guy Pierce simply chews large holes through the scenery as Aldrich Killian.

The writing is great (for an action movie.  Shakespeare it is not).  It hits all the right tender/contemplative notes, then turns and throws one comedic zinger after another.  Plus, as I alluded to before, it managed to rather surprise me.  About 1/3 of the way through the film I said "This is a combo of both Extremis and The Five Nightmares."  At that point I thought I knew (as a result of knowing those Iron Man books) exactly how the film would end.  And I was wrong.  Very wrong.  But the plot still resolved itself in a way that did homage and justice to those classic storylines.  This is a rather large accomplishment.

All in all I enjoyed it very much.  And what else do we really want from the movies?

Entertainment: 8/10
Artistic Value: 3/10
Technical Merit: 5/10

Overall: 6/10

A postscript with SPOILERS:
Again, below there be a few SPOILERS -ye have been warned.


Ok, you know what bugged me far more than the whole "Mandarin is just a distraction away from the real bad guy" bit?  The bit where Tony was breaking into the Mandarin's compound with weapons he constructs out of hardware tools.  Know why?  The guy knows S.H.E.I.L.D. and all the other Avengers!  He needs help, he knows where the bad guy is, and all the other Avengers owe him a solid big time!  Why did he have to do this himself?  I mean, other than the fact that the movie is called Iron Man and not Avengers 2?