Creature From the Black Lagoon Review- By Michael Carlisle

Title: Creature From the Black Lagoon
Year: 1954
Director: Jack Arnold
Country: US
Language: English 

In the 1930's Universal Studios was primarily in production of "B" monster movies like Bride of Frankenstein, Dracula and Island of Lost Souls. This helped them survive the early phase of the Golden Hollywood Era and eventually assisted them into becoming a major studio. The monster's introduced in this period are the most renowned in film history, but it is important to remember that Universal made classic monster movies well into the 50's. One prominent example of this is Creature From the Black Lagoon.

In the film, a scientific expedition searching for fossils along the Amazon River discover a prehistoric Gill-Creature in the legendary Black Lagoon. The explorers capture the mysterious creature, but it breaks free. The Creature returns to kidnap the lovely Kay, fiancée of one of the expedition, with whom it has fallen in love.

The "creature falling in love with human" storyline has been done before, King Kong being the picture that started it all. However, Creature From the Black Lagoon is slightly different; it's about the controversies regarding gay marriage. Even in our modern 21st Century world, homosexual relations are a pretty taboo subject and is unacceptable in most places. The creature, whose gender was made purposely anonymous in order to bypass the censors, loves what she can't have; a same sex relationship. Though the other white characters see her as a monster, the audience knows differently and we choose to sympathize with her. The entire film is a struggle to keep up the heterosexual norm in society.

There is also an environmental theme in this film; A clash of science and morality. The two scientists who have captured The Creature are at great odds with each other. One of them is trying to preserve Gill-Man while researching him. The other wants to take Gill-Man to the lab at any cost - even the death of the new species. This side-plot creates suspense and intrigue, even if the score is far too melodramatic and the dialogue is too banal.

In conclusion, Creature From the Black Lagoon is a remarkable "B" movie that is still fun to watch today because of the many interpretations that could stem from the plot. The acting is sub-par, but the sets are remarkable. The film oozes raw sexuality, Julie Adams looks fantastic in a swimsuit. 4/5

Jason and the Argonauts Review- By Michael Carlisle

 Title: Jason and the Argonauts
Year: 1963
Director: Don Chaffey
Country: US
Language: English

When I think of classic adventure films, there are three that come to mind; Lawrence of Arabia, Raiders of the Lost Ark and Jason and the Argonauts. Each three are spectacular in their own way, yet incredibly different. The difference with Jason is that it was technically a "B" Picture, made by a Director who typically made "B" movies, however the special effects were so unique that Columbia was able to book this as an "A" single feauture picture in many American theatres,

The film is about the mighty Jason (Todd Armstrong), who has been prophesied to take the throne of Thessaly. When he saves Pelias from drowning, but does not recognize him as the man who had earlier killed his father, Pelias tells Jason to travel to Colchis to find the Golden Fleece. Jason follows his advice and assembles a sailing crew of the finest men in Greece. Their voyage is is filled with danger.

Those who have heard of the picture know what this "danger" is; the iconic images of an animated skeleton army imprint the minds of every cinephile. The stop motion effects created by special effects legend Ray Harryhausen make Jason not only fun, but historically important and groundbreaking. Though the effects, miniatures and camera tricks seem vastly dated now, they remind us what a man can do when creativity is at its peak.

Though it has the heart of a "B" movie, Jason has the soul of a grand epic. Beverley Cross's magnificent script knows no boundaries and is not chained to any form of "reality". Bernard Herrmann's score is exhilarating, sometimes creating a sense of wonder and sometimes creating as sense of dread. Overall it's a fun, daring, simplistic and exciting flick that never ceases to amaze.

In conclusion, though this film is dated, Jason and the Argonauts is a wild roller coaster that deserves to be seen by generations to come. It has an interesting sociological theme as well; perhaps the gods would cease to exist if men stopped believing in them. This makes the picture an interesting platform for philosophical discussion. Praise it! 4/5

Butch Cassidy and the Sundance Kid Review- By Michael Carlisle

Title: Butch Cassidy and the Sundance Kid
Year: 1969
Director: George Roy Hill
Country: US
Language: English 

The New Wave Hollywood Director was vastly different from those who worked in  Classic Cinema. They were often more film-school educated and incredibly counter culture. Every rule the old American cinema established, the new filmmakers would break repeatedly. The Hays code no longer mattered and making a film was not as mechanical. One convention the new Directors broke was defining characters by strict morals, as you see in Butch Cassidy and the Sundance Kid, morality became shades of grey.

Starring Paul Newman and Robert Redford, the film is about Butch and Sundance, who are the two leaders of the Hole-in-the-Wall Gang. Butch is all ideas, Sundance is all action and skill. The west is becoming civilized and when Butch and Sundance rob a train once too often, a special posse begins trailing them no matter where they run.

With this picture Director George Roy Hill has made a Shakespearean drama out of a Western period piece.  Like many of Shakespeare's characters, Butch and Sundance are tragic heroes, doomed from the start. Their notorious exploits will get them killed, "when", "where" and "how" are questions that will be answered in a matter of time. Hill does an excellent job at creating suspense and eliminating his character's options, until there is no choice but to face death.

This is an excellent 60's picture because it defines the struggles between the generation gap. The younger baby boomers were rebellious and energetic like Butch and Sundance, the posse, like the older generation, was stubborn and would tear down others if it meant sticking to the old ways. Like Midnight Cowboy the two lead characters have a remarkable bond, which is perhaps why we like them. They have each others backs regardless of how tough the situation becomes.

In conclusion, Hill's film is perhaps the greatest Western ever made. Throughout Cinematic history, the Western Genre has been far too cold, serious and cynical. Butch Cassidy and the Sundance Kid has moments that are full of humor and fun. Never has a film revolving around doomed characters been so adventurous. I question the choice of "raindrops on my head", but otherwise its a near perfect film. Praise it 4.5/5

Easy Rider Review- By Michael Carlisle

 Title: Easy Rider
Year: 1969
Director: Dennis Hopper
Country: US
Language: English

By the year 1969 arrived, New Hollywood Cinema had paved its way into the mainstream and grabbed the hearts of America's youth. Suddenly the silver screen was wilder, more energetic, more controversial and more overtly sexual than ever before. Fresh and exciting themes leaped through the screen and characters had no boundaries or limitations. An example of a New American Wave film that seemingly had no limits was Easy Rider. 

Starring Peter Fonda and Dennis Hopper, the film involves two motorcycle riders/bikers named Wyatt and Billy who are on their way to Mardis Gras. They also wish to "find America". On their way they find hippies, hitchhikers, policemen and a whorehouse, 

Throughout Easy Rider a lot of marijuana is smoked by Hopper, Fonda and Nicholson. One would think that the smoke is fake, but actually they were really smoking marijuana on camera. For those who are anti-drug enthusiasts let me warn, this is definitely not the film for you. This picture is a 60's counter culture time capsule, it explores an explosive time where authority and youth were at great odds and "good vs evil" just didn't exist. 

Dennis Hopper's film describes the frictions between the living generations at the time and how the shattered idealism of a generalization created a great culture change. The "father knows best" era of the 50's was long gone, and the "sex, drugs, music and madness"  era was starting to reign. Throughout the film the characters search for America but can never find it, perhaps this is a great critique. The America that we are told about by our parents, politicians and teachers, is not the America we see.

In conclusion, Easy Rider is a sensational film that serves as a time machine into the 60's. Though the ending is sad, and may be far too abrupt, it is encouraging of rebellion and protest. Hopper insists that we should not let the ideals of the authority bring us down and force us into their reality. Praise it! 5/5

Midnight Cowboy Review- By Michael Carlisle

 Title: Midnight Cowboy
Year: 1969
Director: John Schlesinger
Country: US
Language: English

At the time the Baby Boomer generation were coming of age Old Hollywood was rapidly losing money and audience interest. The studios needed to re-invent the way they made films or go the way of the Dinosaur. This led to the New American Wave; a period of innovation and increased risk taking, giving more control to Directors and Producers. Films weren't about the simplistic notion of "good" vs "evil" anymore, infact they were quite complex. Midnight Cowboy is one of these films. 

The plot involves Texas-born Joe Buck (Jon Voight), who arrives in New York with the hopes of being a real hustler. He finds that he is the one getting 'hustled' until he teams up with a down-and-out but resilient outcast named Ratso Rizz (Dustin Hoffman), The "country mouse" and "city mouse" relationship deepens as they fight a hostile world that doesn't quite understand them.

The first Rated X movie to win "Best Picture" at the Academy Awards, Midnight Cowboy is an excellent movie that is equal parts gritty and depressing. Its main themes are about the deprivation of humanity, shown by the darkness of the filthy city streets, and the literal exploitation of the working class. The director effectively inserts montages of flashbacks and fantasy sequences to fill in the character's fragile psyches. An atmosphere of pessimism and alienation blankets the story. 

Though Joe Buck and Ratso Rizzo are essentially criminals, in Old Hollywood they would be the villains of the story, the two characters are actually able to gain the audience's empathy. Perhaps it is because they dream of a great life, but are trapped within the limitations of their society. Perhaps it because they are really "good" people at heart but have a tendency to make foolish mistakes. Either way, I found myself rooting for them, desperately hoping they survive their hellish state of being. 

In conclusion, Midnight Cowboy is rich in substance and full of heart. This is one of the few times an onscreen relationship between two men has felt authentic and beautiful. Though it may be too depressing for some, Director John Schlesinger has crafted a remarkably made film which will hopefully be seen by generations to come. 

Praise it! 4.5/5

A Man Escaped Review- By Michael Carlisle

Title: A Man Escaped
Year: 1956
Director: Robert Bresson
Country: France
Language: French 

Though French Director Robert Bresson's films never achieved great popularity in his home country, they were always big hits among educated critics and art-house enthusiasts. Known for his incredibly bleak films in which the main character would go through a great emotional crisis,  like Au Hasard Balthazar, Mouchette and Pickpocket, he would usually cast non-actors to give each picture a realistic feel.Among his works, A Man Escaped would prove to be one of his greatest. 

The plot revolves around Andre Devigny (Francois Leterrier), a french resistance leader who is captured by the nazis and spends the majority of his prison sentence desperately trying to figure out an elaborate escape. Unfortunately on the same day he is condemned to death he is also given a new cellmate. Should he kill him or trust a stranger who may be a gestapo in disguise? 

Considering Bresson himself was a German POW for a year during WWII, I think it's close to say that he had a deep emotional connection with the character of the film. Demanding complete authenticity, he used the real-life Devigny as superisor and even shot in the same prison where Devigny was once held. His direction is meticulous, every detail is concise and exceptionally crafted. Bresson does a wonderful job at building tension slowly increasing  hope; the impossible at the beginning of the film, seems very possible near the end. 

After seeing the film, French New Wave director Jean-Luc Godard said that Bresson was "to French cinema what Mozart is to German music and Dostoevsky is to Russian literature". Indeed A Man Escaped is quite spectacular, it is a film that is straight forward in narrative but requires a lot of patience. He did not shy from repetition, infact repetition is what makes his character so like-able. He does not foolishly try to escape whenever the moment is opportune, but rather is calculating and plans his actions months ahead of time.

In conclusion, A Man Escaped has made a substantial impact in Cinematic History and is still entertaining and thought provoking to this day. It is Bresson's least melancholy picture and serves to show that any goal is possible, no matter how desperate your situation is. Praise it! 5/5

Pandora's Box Review- By Michael Carlisle

Title: Pandora's Box
Year: 1929
Director: Georg Wilhelm Pabst
Country: Germany
Language: German

Born on November 14, 1906 in Kansas, USA Louise Brooks would become one of the most intriguing women in film during the silent era.  Known mostly for her attractive hair style, she was viewed as incredibly beautiful during her career, unfortunately her beauty made her very unpopular among the elite, mainly because other actors viewed her as competition. She did not follow the norms of society and she really became an enemy when she left Hollywood for Europe. Pandora's Box would be one of her European films.

Director Georg Wilhelm Pabst's film is about the rise and fall of an amoral but naive young prostitute (Louise Brooks) whose incredible eroticism inspires lust and violence in those around her. She is essentially the human form of the greek myth regarding an artifact known as "Pandora's box"

Like Wiene's The Cabinet of Dr. Caligari, Lang's Metropolis and Murnau's Nosferatu, this picture is a high caliber German Expressionist piece. The lighting and design create an impressive and intoxicating atmosphere, full of lust, desire and danger, This is a psycho-sexual melodrama that would likely have never seen the light of day in Brook's home country. It's not as exploitative as the erotic dramas of today, but perhaps because Pabst leaves a lot to the imagination it is still relevant and shocking.

Louise Brooks is both uncompromising and realistic in her role as Lulu. She is a well crafted character who avoids simplistic notions of "good" or "evil". The character is incredibly complex for her time, starkly different than any other female that could be seen in theaters. The film's take on homosexuality was revolutionary and it deserves great praise for that.

In conclusion, Pandora's Box is a remarkable German Silent film that is still enjoyable to watch 84 years after its theatrical release. It has very feminist and LGBT qualities which can be analyzed to death.  Pabst has made one of the greatest silent films to ever be produced, starring one of the most beautiful women to ever grace the screen. Praise it! 5/5

The Wages of Fear Review- By Michael Carlisle

Title: The Wages of Fear
Year: 1953
Director: Henri-Georges Clouzot
Country: France
Language: French  

Born on Nov 20, 1907 in Niort, France Henri-Georges Clouzot would eventually become a master Director of psychological thrillers, often a rival to British-born Alfred Hitchcock. Though unfortunately due to the Nazi occupation of France and his continuous ill health throughout his career, Clouzot was never able to match Hitchcock in the output of films. Even though he has only directed 19 films before his death in 1977, they were all pretty excellent, one of his best being 1953's The Wages of Fear. 

Set in the South American jungle, it seems that  supplies of nitroglycerin are needed at a remote oil field. The oil company pays four men to deliver the supplies in two trucks. A tense rivalry develops between the two sets of drivers where on the rough remote roads even the slightest bump can result in an explosive death.

 You might want to check with your doctor before seeing this film, because The Wages of Fear is not for the weak of heart or those prone to fainting. Clouzot's picture is one of the most pulse pounding, suspenseful and claustrophobic spectaculars that you will ever witness. It's gritty, atmospheric and thrives on realism. The lighting greatly contributes to the shocking quality of each eerie visual. The fact that Clouzot is able to squeeze suspense out of the most simple scenes is absolutely remarkable. 

The Wages of Fear is essentially a warning about the dangers of ambition, greed and capitalism. It examines how workers will risk their entire lives for a wage, and how the owners are ready to exploit them. We are also shown the dangers of financial competition, how replaceable the working poor are and how a blind lust for money can ultimately lead to doom. It's a Marxist film right down to the core.

In conclusion, The Wages of Fear is a remarkable riveting film with the sheer force of an atomic bomb. It's as captivating as it is tense. Clouzot makes the characters multi-dimensional so we care about their fragile lives, and it adds to an already great experience. This is possibly one of the greatest films ever made. Praise it! 5/5

To Be Or Not To Be Review- By Michael Carlisle

 Title: To Be Or Not To Be
Year: 1942
Director: Ernst Lubitsch
Country: US
Language: English

 

During the middle of World War Two, one of the most explosive wars in the history of mankind, Ernst Lubitsch asked himself "To Be or Not To Be?" He was not quoting Hamlet's immortal line in the Shakespeare play, but was rather pondering whether the United States was ready for his no holds barred comedy against the Nazi regime. Though the world had already seen the satire of Charles Chaplin's The Great Dictator, this film would prove to be far more risque. 

In Carole Lombard's last onscreen role before her untimely death via plane crash, she plays Maria Tura, a woman in occupied Poland during WWII. Along with a group of stage actors, led by her husband Joseph Tura (Jack Benny) they must outwit the Nazis, by intercepting a German spy who has information which could be very damaging to the Polish resistance.

"They call me concentration camp Ehrhart, though it's the Germans who do most of the concentrating and the Polish who do most of the camping" This is the kind of humor that fills the screen in this film; outrageous, shocking, daring and bold. Lubitsch crosses more boundaries than Chaplin could ever dream to. Even today the jokes will leave your jaw hanging on end, leaving you questioning whether you should be offended or amused. It is so wrong and yet so right. 

To Be or Not To Be is witty, intelligent, sentimental and mad. It is a horse running full speed into a burning stable. Perhaps it was far too much for the audience at the time to take, nobody was in the mood to laugh at war, but since we are 71 years removed from that period we can fully enjoy it. It's a vitually flawless film, its comedy never holds up the narrative, but rather improves it.

In conclusion, Director Ernst Lubitsch never disappoints. All his classic Hollywood films tickle the funny bone while questioning our morals. I would argue that To Be Or Not To Be is his greatest work, but many have good arguments for Heaven Can Wait and Trouble In Paradise. If you haven't seen this man's work, do it asap. Praise it! 5/5

The Shawshank Redemption Review- By Michael Carlisle

Title: The Shawshank Redemption
Year: 1994
Director: Frank Darabont
Country: US
Language: English

As most of you may know, the Internet Movie Database (IMDB) has a continuous poll of the "top 250" films of all time. Though many films on the list are classics, some choices, such as Christopher Nolan's The Dark Knight at #6 and David Fincher's Fight Club at #10, are quite baffling. The list is based upon the average votes and according to IMDB The Shawshank Redemption is the greatest film of all time receiving  an average of 9.3/10  from 1,091,820 users. Is it really that great? This review will analyze exactly that.

Based on a Stephen King novel, The Shawshank Redemption stars Tim Robbins as Andy Dufresne, a young and successful banker whose world turns upside-down when he is sentenced to life imprisonment for the murder of his wife and her lover. Set in the 1940's, the film shows how Andy, and his friend Red (Morgan Freeman), attempt to survive prison and become quite unique prisoners.

The Shawshank Redemption takes us back to the days where prison break films weren't based on riots and massacres, but rather about determined human beings who feel a great need to get out of the system. Andy and Red are two very intelligent men who fight off despair, become best of friends and try to persevere despite the struggles of daily living. It's essentially an allegory for holding onto self worth. 

The technical aspects of the film are quite well done. The cinematography gives you a sense of the enormity of the prison system. The lighting can both leave you in despair, or give you with a profound sense of hope. The score increases the intensity of each scene and makes many sequences pulse pounding. At first I was put off by the fact that the film doesn't give you a clear sense of time, the only way you know it's the 40's is because the prisoners watch Rita Hayworth's Gilda (1946), but then I realized that prisoners serving a life sentence probably wouldn't have a clear sense of time anyways. 

Unfortunately the film is not perfect; we never get a sense of how dire Andy Dufresne's situation is, nor do we get a clear understanding to how corrupt the system is. Dufresne was given life sentences for murders he did not commit, yet by the middle of the film he has completely forgotten about it and presumably never tries to clear his name. The cinematography does give you a sense of how vast the prison system is, but never shows how claustrophobic and horrific it can be. The characters weren't very complex, and though Freeman's narration is universally praised, I thought the film was held back by it.

In conclusion, while The Shawshank Redemption is certainly a good film, it is not "great". The film's message is about hope, and that's fine, but the Director doesn't make you feel like you've struggled through one hell of an ordeal. The conclusion is not as satisfying as it should be and ultimately harms the experience. If you wish to see an example of a great prison-breakout movie, watch A Man Escaped. 3/5

Shut Up and Sing Review- By Michael Carlisle

Title: Shut Up and Sing
Year: 2007
Director: Barbara Kopple
Country: US
Language: English 

Comprising of Natalie Maines, Emily Robison, and Martie Maguire, The Dixie Chicks is an American country music band that also crosses over into other genres like rock and pop. Forming in 1989 in Dallas, Texas they slowly paved their way to stardom, winning a total of 13 Grammy awards by 2013. Their hits include the then controversial "Goodbye Earl", a song about joyfully murdering an abusive husband, a remake of Fleetwood Mac's "Landslide", and "Travelling Soldier". In 2003 their career would hit a big bump on the road, when they would take on the President of the United States.

In 2003 two entities were incredibly popular with the Southern Christian majority; George Bush and The Dixie Chicks. However with the US invasion of Iraq about to begin over frustrated worldwide objections about this needless war, Natalie Maines vents at a UK concert by saying "we're ashamed the president of the United States is from Texas". This creates a whirlwind of controversy, including a nation-wide radio ban of their music. 

Shut Up and Sing takes you to the center of the violent political storm that surrounded the daily lives of The Dixie Chicks through 2003-2005. It is not a film that whines and drags on, like most Michael Moore films do, we are taken behind the scenes and shown very intimate access into each members' life. There are a decent amount of stock footage of rednecks burning their cd's and radio station dj's refusing to air them, it is reminiscent of The Beatles' controversy of the 60's, when John Lennon said that they were "bigger than Jesus"

Lead singer Natalie Mains is shown as a rebellious figure who refuses to apologize for speaking the truth, she is what young women should strive to be. However the patriarchal society that is America decides to bring her down by calling her a "Dixie slut" among other names. Even in a developed country it seems like women can't have an opinion. The film is also a warning about nationalism, blind love for one's country is incredibly dangerous and leads to great ignorance.

In conclusion, Shut Up and Sing is a very smart film that is more than just about freedom of speech. Unfortunately the film never becomes too dark, it always shows the Chicks as a tight-knit group despite the fact that they must have had some disagreements throughout that firestorm. Natalie's timing could not have been worse, when she stood up against the war in 2003, but thankfully she came out of it alive. Praise it! 4/5

12 Years A Slave Review- By Michael Carlisle

Title: 12 Years A Slave

Year: 2013

Director: Steve McQueen

Country: UK

Language: English

Over the last few decades Hollywood has made a mockery out of slavery.  In 2010 Oscar nominated The Help turned the terrifying black plight into a light hearted comedy.  Most recently middle aged white Director Quentin Tarantino turned a very dark time in American history into a revenge fantasy spaghetti Western complete with a modern hip hop score, this abomination was called Django Unchained. Thankfully the historical period has been saved by Steve McQueen (Shame) with his newest film 12 Years a Slave. 

McQueen’s picture is based on the astonishing true story of Solomon Northup (Chiwetel Ejiofor), he is a free black man from upstate New York during pre-civil war times.  One day he is betrayed by some friends, abducted and then sold into slavery. Solomon not only struggles not only to survive his situation, but to maintain his humanity as well. 

12 Years a Slave is the Passion of the Christ of slavery films. It is honest, brutal in its depiction of violence and all about suffering. It exposes the true nature of slavery, not once sugar-coating it to appeal to the masses. The camera is unrelenting when showing the savagery of the slave owners and physical torture the slaves go through. During the middle of the film Solomon is hung from a rope and the shot goes on for a full 5 minutes, making an emphatic statement about his desperate situation. For her crime of fetching a bar of soap in order to rid herself of her own unbearable stench, a young slave girl by the name of Patsey (Lupita Nyong'o) is tied to a wooden post and relentlessly whipped, she screams in pain the entire time 

McQueen’s film is very hard to watch, but perhaps it is because the reality of what truly happened is hard to face. The acting in this picture is remarkable; Michael Fassbinder’s depiction of a cruel slave owner is shocking, he truly makes you hate him. Chiwetel Ejiofor creates a fragile character who you desperately wish survives this seemingly endless hell. 

In conclusion, expect 12 Years a Slave to be nominated for many Academy Awards, including Best Picture, but win very few. The powers that be would rather keep making masturbatory white-guilt films than give McQueen, a powerful black director, the credit he deserves. Watch this film and show that intelligent films regarding race do matter. 

Praise it! 5/5