A Matter of Life and Death Review- By Michael Carlisle

Title: A Matter of Life and Death
Year: 1946
Director(s): Powell & Pressburger
Country: UK
Language: English

The British called it A Matter of Life and Death, The Americans retitled it Stairway to Heaven. Powell wrote it in his biography that he thought the Americans had missed the point. At the time, British Critics were upset that the film might be too pro-American, some others assumed it was propaganda since nationalities of the Axis (German, Italian, Japanese) were not portrayed in the film's version of Heaven. Despite the controversy, the film remains a treasure today. 

Returning to England from a bombing run in May 1945, flyer Peter Carter's (David Niven) plane is damaged and his parachute ripped to shreds. He jumps, preferring this to burning up with his plane. He wakes up in the surf, though it was certainly his time to die. There was a mixup in heaven; they couldn't find him in all that fog. "The conductor" finds him, but he is in love with an American and does not wish to die. Therefore he must argue for his life in front of a celestial court. 

Powell and Pressburger have made a visionary picture, which stretches the imagination. It is fantastical; an incredibly odd film that never loses sight of its message regarding humanity and love. The Directors push the limit of what was technically possible at the time, touting impressive visuals and an overwhelmingly beautiful, yet convincing, atmosphere. The story and characters are not only entrancing, but hold a great deal of depth and sophistication as well.

In addition to the enchanting descriptions of love, life and death, the picture boasts an impressive analogy regarding post-war US-UK relations. Before WWII the UK had been a world superpower for over 190 years, however Nazi Germany left the nation in shambles after WII and thus the US seized their superpower status. The US & UK had great tension towards one another, however A Matter of Life and Death was meant to marry both nations, claiming that  one could not live without the other.

In conclusion, A Matter of Life and Death is nothing short of a marvel. I found myself moved by the sensational sets and Jack Cardiff's rich photography. The chemistry between the two main characters is palpable, their love for one another extends beyond the screen. Mixed in some sly humor and you've got a real treat that must be seen. Praise it! 5/5

Che Review- By Michael Carlisle

Title: Che
Year: 2008
Director: Steven Soderbergh
Country: Spain
Language: Spanish

Born in Sante Fe, Argentina on June 14, 1928 Che Guevara has become a North American marketing icon. His face is plastered on posters, pins, magazines and t-shirts. There are a lot of people who own a Che T-Shirt but do not know who the man was or what he stood for. The man today represents a generic counter-culture symbol. Director Steven Soderbergh is a man who simply wasn't satisfied with our modern view of Che, and sought to re-create his life through the art of film.

The film plays in two parts, named "The Argentine" and "Guerrilla." These parts attempt to re-create Che's history; from the mobilization of Fidel Castro's army, who desire to topple the Regime of dictator Fulgencio Batista to his ill-fate guerrilla war in Bolivia.

Soderbergh's depiction of the Marxist-Leninist Revoluutionary leader edges on the border between fantasy and reality. Che is a natural leader of men; strong willed, confident and angry at injustice. He identifies with the peasants, rather than the ruling class, demoralized by the currrent regime. Of course he's not perfect; he seems rather terrible at building personal relationships and he's not the greatest military strategist. His imperfection makes the battle scenes engaging to watch, because there are no clear-cut outcomes. 

Unfortunately the film has some faults; little attention is given to the relationship between Che and Fidel Castro. We also do not hear discussion of his theories and ideologies, which would make the picture all the more intriguing. It can also run a bit too long for some people's taste. Benicio Del Toro's performance is remarkable; he embodies both the personality and will of Che, capturing everything the leader was.

In conclusion, Che is an emotionally captivating epic which does not glorify the battle of a revolutionist, but rather shows how difficult, and sometimes unrewarding, they can be. The second half of the film is almost shot as a horror movie; "and then there were none". A Greek tragedy unfolds before our eyes, and we can't help but be moved. Praise it! 4/5

Mrs.Doubtfire Review- By Michael Carlisle

Title: Mrs. Doubtfire
Year: 1993
Director: Chris Columbus
 Country: US
Language: English

As the internet erupts from the passing of Robin Williams, who committed suicide on August 11, 2014, it seems that every site on the internet and every person with social media is crediting him as a comedic saint who made masterpieces like RV, Flubber, and License to Wed. Indeed he has made some decent films which are seen by generations of North American families. One Williams film which has overstayed its welcome...I mean, has lasted the test of time is Mrs. Doubtfire.

After a bitter divorce, an actor (Robin Williams) disguises himself as a female housekeeper to spend time with his children held in custody by his former wife (Sally Field)

Directed by the Chris Columbus who didn't discover America, Mrs. Doubtfire begins with the typical Robin Willaims motif; the main character is a fun guy to be around but society doesn't like it ( as also seen in Good Morning Vietnam, Dead Poets Society, Flubber & Patch Adams) Although we don't know the dynamics of their relationship, we must conclude that Miranda (Sally Field) is a real c-word because she works for a living and won't tolerate unemployed, uneducated jackoffs who spend their free time hiring private zoos. Looking back on it, Mrs.Doubtfire is the perfect movie for men's rights activists. I mean, all Miranda does is leave a guy who is so obsessive he'll invade their home via cross-dressing as a nanny, and date James Bond (who Willaims attempts to murder in the restaurant scene) How is she the bad guy??

The Doubtfire disguise is decent, not Dustin Hoffman in Tootsie good, but certainly not bad. Act one consists of Willaims pulling off the disguise; fooling pretty much everyone he knows in the process. Act two consists of complications with seemingly comedic results. Except the "fish out of water" situations aren't presented in a funny way, nor are they dramatic or logical. Watching it nowadays, I don't get the point of the picture. Mrs.Doubtfire has the depth of a water-less kiddie pool. It certainly doesn't raise any social commentary.

In conclusion, I suppose this film is popular because it's entertainment with absolutely nothing to say. It's qualifies as escapism and middle-aged  male fantasy. It's the kind of film you can show your kids, because they won't be exposed to any messages whatsoever. I feel sad for any adult who willingly watches this and thinks it's a great movie. 
Piss on it! 1.5/5

Bullets Over Broadway Review- By Michael Carlisle

 Title: Bullets Over Broadway
Year: 1994
Director: Woody Allen
Country: US
Language: English

Woody Allen has a strong knack for hiring talented actresses and leading them to Oscar glory. At the 2014 Academy Awards Cate Blanchette won "Best Actress" for her devastating portrayal in Blue Jasmine. In the 80's, although Mia Farrow starred in more of his films, Diane Wiest was a hot commodity. She won two best supporting actress Oscars, one for Hannah and Her Sisters and another for the current film being reviewed; Bullets Over Broadway. 

 Set in 1920's New York City, this movie tells the story of idealistic young playwright David Shayne (John Cusack). Producer Julian Marx (Jack Warden) finally finds funding for Shayne's project from gangster Nick Valenti (Joe Veterelli). The catch is that Nick's girl friend Olive Neal (Jennifer Tilly) gets the part of a psychiatrist, and Olive is a bimbo who could never pass for a psychiatrist as well as being a dreadful actress. Meanwhile Shayne is slowly falling in love with his second actress Helen Sinclair (Dianne Wiest). 

The amount of films Woody Allen has made about a struggling writer is astounding, yet he always finds a way to make his familiar motif unique. Bullets Over Broadway might have been a routine backstage comedy, if it wasn't for the bodyguard named Cheech (Chazz Palminteri) He pushes the main characters internal struggle to the forefront; does Shayne compromise and become a sell out in order to be successful or stick to his artistic intuition and remain a failure?

What is the artist's responsibility to their art? Must they stay true to their vision? In this a man gets away with artistic murder, is this morally correct? Some, like Woody Allen, argue that an artist "creates his own moral universe". Of course in reality there are men who have done worse (I'm looking at you Roman Polanski)  yet are revered for their genius. Bullets Over Broadway is a relatively light film for such deep philosophical questions, and I suspect that will go over the heads of many viewers, but it's refreshing that this picture is more than just mere "entertainment".

In conclusion, all the actors in Bullets Over Broadway pull off a magnificent performance. I especially loved Jim Broadbent as the man who starts with water, then slowly consumes everything in sight. Woody hasn't pulled off a masterpiece, but it's still quite a work of art.

Praise it! 4/5

Tootsie Review- By Michael Carlisle

Title: Tootsie
Year: 1982
Director: Sydney Pollack
Country: US
Language: English

Most people in North America have seen Mrs. Doubtfire, a family comedy about a dad who wears drag and becomes a British Nanny in order to spend time with his kids. Though it is beloved, it pales in comparison to Tootsie. Sydney Pollack's film works beyond the gimmick of Dustin Hoffman in drag and becomes an intelligent story with great social commentary regarding gender norms in the 1980's.

Michael Dorsey (Dustin Hoffman) is an unemployed actor with an impossible reputation. In order to find work and fund his friend's play he dresses as a woman, Dorothy Michaels, and lands the part in a daytime drama. He loses himself in the woman's role and life slowly becomes topsy turvey.

Tootsie is a fine mix of absurdity and seriousness, of laughs and tears. Hoffman in drag was a risky experiment, but it proved to work quite well. He's actually quite plausible as Dorothy; looking like a middle aged woman with a squeaky southern accent, which helps avoid difficulties with voicing. It's easy to understand why Dorothy would become a female role model; she is tender, yet strong and doesn't let men push her around.

The role is not without complications, which allows the film to have many "fish out of water" slapstick jokes,  but Dorothy gradually wins your admiration. Tootsie's realistic views regarding the double standards of that time were innovative. Indeed a lot of the writing for women in television was "a lot of horseshit", mainly because the producers of television shows were men and thus had a man's view of the world. Sexual misconduct towards women was, and still is, a huge problem in the workplace.

In conclusion, I admire the fact that Tootsie did not hit any standard Hollywood cliches nor devolve into a mess that berated women. Rather it stood up for the underdog and exposed sexism in the workplace. I would certainly recommend watching it more than a few times. Praise it! 5/5

Vicky Christina Barcelona Review- By Michael Carlisle

Title: Vicky Christina Barcelona
Year: 2008
Director: Woody Allen
Country: US
Language: English

At this point I have seen over twenty Woody Allen films, and have to confess that I feel he is the greatest living Director. His pictures are profound, they are full of intellectual conversation regarding love, life and death. I feel creatively inspired by the end of an Allen picture, eager to write my own screenplay. I was hesitant to watch Vicky Christina Barcelona because I had heard it was mediocre, but I'm happy to report that it was not. Infact Barcelona kept me on the edge of my seat until the credits rolled.

Sexually adventurous Cristina (Scarlett Johansson) and her friend Vicky (Rebecca Hall), who is bright but cautious, holiday in Barcelona where they meet the celebrated and wholly seductive painter, Juan Antonio (Javier Barden). Both women become infatuated with him, unaware that his crazy ex-wife (Penelope Cruz) is about to re-enter the picture.

On the surface Vicky Christina Barcelona has the usual Woody Allen motifs; affluent sophisticated characters, involved in the arts and have very different ideals about love. They appear to be middle class, unsure of what is "right" and what is "wrong", and seem like beautiful people that we might envy. At first Juan Antonio seems like a mysterious overwhelming figure of lust and carnal desire, the audience falls in love with his seemingly bohemian lifestyle as much as the characters do. Vicky's fiance Doug pales in comparison, looking like a shrewd ultra-conservative mouse.

Of course the curtain eventually falls, and what used to be "good" is now "too good to be true". The fantasy is just that, fantasy. Luckily Vicky and Christina return to reality before their lives become a nightmare. I was impressed with the smart ending, as I was somewhat worried Allen would give us the phony Hollywood treatment. The actors do a magnificent job in their roles, Penelope Cruz definitely deserved her "best supporting actress" Oscar. The character's personalities contrast wonderfully against the beautiful city.

In conclusion, Vicky Christina Barcelona was impressive and incredibly thought provoking. This is Allen at his most logical, showing that he doesn't always get completely lost in art. I enjoyed that it didn't devolve into the cliche romantic comedy, rather it was very unique. Praise it! 4/5

The Young Girls of Rochefort Review- By Michael Carlisle

Title: The Young Girls of Rochefort
Year: 1967
Director: Jacques Demy
Country: France
Language: French

Born June 5, 1931 Jacques Demy was the most "American" of the French New Wave Directors. His films, free from political agenda, were created in a self contained fantasy world inspired by musicals, fairytale and classic Hollywood. His musicals, Umbrellas of Cherbourg and The Young Girls of Rochefort, brought him worldwide praise. Though he made other great works, none could match the popularity of Umbrellas. He died on October 27, 1990 due to AIDS complications but he continues to aspire cinephiles worldwide.

Delphine (Catherine Deneuve) and Solange (Francois Dorleac)  are two sisters living in Rochefort. Delphine is a dancing teacher and Solange composes and teaches the piano. Maxence  (Jacques Perrin) is a poet and a painter. He is doing his military service. Simon (Michel Piccoli) owns a music shop, he left Paris once month ago to come back where he fell in love 10 years ago. They are looking for love, looking for each other, without being aware that their ideal partner is very close.

Though Umbrellas is much more beloved, I prefer The Young Girls of Rochefort. The former is a tearjerker about the woes of young romance, whereas the latter is pure escapism. Endless joy oozes off the screen and makes you feel like dancing along with the terrific Gene Kelly. The incredible dancing bursts of great emotion and raw energy. Demy's world is strange and offbeat, but full of dazzling colours that please the eyes and electrify the soul.

Much of the film's charm lies upon the witty, high elegant and absurdist dialogue combined with some terrible puns. I found myself laughing at how surreal Rochefort felt, yet I never found myself alienated by any of the characters, who are all charming in their own way. Demy places great importance on love and community. In Rochefort people fall in love very easily and over the smallest of things. It's breathtaking, the film is magic.

In conclusion, I would highly recommend The Young Girls of Rochefort as it's one of the greatest musicals ever made. Certainly it is a great film to watch when you're depressed. because it will take your mood to a much higher place. Demy's picture is a joy to the senses and to the spirit. Praise it! 5/5

The Umbrellas of Cherbourg Review- By Michael Carlisle

Title: The Umbrellas of Cherbourg
Year: 1964
Director: Jacques Demy
Country: France
Language: French

The most beautiful of all film genres is the musical, certainly they are more fantastical and mythological. When an actor like Gene Kelly bursts into song and dances to his heart's desires a tremendous fury of emotion throbs across the screen. The musical is passionate and, at times, can be more life affirming than any other genre. Alhough there have been flops (Les Miserables), when a musical has been done right it can sweep you off your feet and make you forget about all your troubles. French Director Jacques Demy knows how to make a great musical.

Told in four acts, the lives of Geneviève Emery (Catherine Deneuve) and Guy Foucher (Nino Castelnuovo) of Cherbourg France are presented. They both wish to get married, but Guy must go off to war before the decision is made.

The Umbrellas of Cherbourg speaks closer to human nature than most movie musicals. Demy resists the urge to pull off extravagant musical numbers, rather the movie flows through an uninterrupted dialogue of singing. The wall-to-wall score is hypnotic and entrancing, Eventually one forgets how unusual this is. It evokes both first love and first heartache, it is a bittersweet picture that takes place outside of reality. Demy's universe fuses the commonplace with the cinematically heightened, it's absolutely captivating.

The movie is as original and colourful today as it was sixty years ago. Catherine Deneuve is a remarkable French actress, it is clear that she worked hard on the film and succeeded in making her character believable. Demy seemed to reach his peak with Umbrellas, as none of his other films could ever reach the popularity that this one did. I appreciate the maturity, honesty and magic throughout the film.

In conclusion, though French musicals are somewhat frustrating for an English speaker as one cannot sing along to the wonderful lyrics, Umbrellas of Cherboug is a must see for a tremendous amount of reasons. While it is not my favourite Demy, which is The Young Girls of Rocheforte, it certainly is spectacular. Praise it! 5/5

Touch of Evil Review- By Michael Carlisle

 Title: Touch of Evil
Year: 1958
Director: Orson Welles
Country: US
Language: English

Orson Welles was a great actor, and an even better Director, it's just too bad that Hollywood never saw anything in him. They certainly gave him a chance, for 1941's Citizen Kane RKO allowed him unprecedented creative rights. Nowadays it's known as the greatest film of all time, but back then it brought the studio to the brink of disaster at the hands of William Randolph Hearst. When Welles made Touch of Evil the suits constantly undermined him and scrambled his vision, it failed at the box office because of that. In 1998 a Director's cut from Orson Welles' own notes was created, this version is the one beloved worldwide.

 Mexican Narcotics officer Ramon Miguel 'Mike' Vargas (Charlton Heston) has to interrupt his honeymoon on the Mexican-US border when an American building contractor is killed after someone places a bomb in his car. Police Captain Hank Quinlan is in charge on the US side of the border during this event. Their methods of finding the bomber conflict, as Quinlin (Orson Welles) as a corrupt policeman.

Touch of Evil begins with one of the most famous shots ever made, following a car with a bomb in its trunk for three minutes and 20 seconds. Welles and his cinematographer, Russell Metty perfectly capture an uncertain, suspenseful and at times terrifying atmosphere.The photography traps both officers in the same shots, linking their destinies. It is quite Shakespearean. The picture is a series of intricate cuts and loops, it is never straightforward, although no film about crime should be.

Actor Charlton Heston once claimed that his worst acting decision was not giving his Touch of Evil character a Mexican accent, as the character had lived in Mexico all his life. I quite disagree, infact he played Vargas quite well without an accent, it made it easier for the audience to identify with him. An accent would seem inauthentic and just a little bit racist. Orson Welles plays Quinlin as a mythical movie monster, with a side of Macbeth. He is rotten to the core, and yet at times you pity him. Played by an already hefty Welles layered in extra padding, the character is so scary because he represents man without reason.

In conclusion, if you have not seen Touch of Evil then you may have seen parts of it in other works. For decades filmmakers have paid homage to this great work of art, and it's not hard to see why. I am thankful Heston was strong willed enough to convince the Universal execs to hire Welles. This is among the greatest films ever made. Praise it! 5/5

Frances Ha Review- By Michael Carlisle

 Title: Frances Ha
Year: 2013
Director: Noah Baumbach
Country: US
Language: English

Of the many visual elements that distinguish Noah Baumbach's Frances Ha from any other modern picture is the elegant use of black-and-white cinematography. The Director chose to shoot it that way to 'boil it down to its barest bones' and create an immediate "history" and "a kind of instant nostalgia.' He was right, and though it owes a great debt to Woody Allen's Manhattan, Frances Ha magnificently captures the vibrant energy of modern youth in a remarkably honest way.

Frances (Greta Gerwig) lives in New York, but she doesn't really have an apartment. Frances is an apprentice for a dance company, but she's not really a dancer. Frances has a best friend named Sophie, but they aren't really speaking anymore. This is the story of a quirky woman and the pursuit of her dreams.

Frances Ha has the look and feel of a romantic comedy, but it's not, at least not in the traditional sense. It's about the love of one's self, but not in a narcissistic way. It feels like a natural film about real personal issues, but is also drenched in movie mythology. It is neither extremely engaging, nor a drag. I found Baumbach's film to be refreshing, re-vitalizing and optimistic. It feels like something out of the French New Wave, perhaps Baumbach aspires to be the new Godard. 

Many critics feel Frances Ha is "good, but not great", I entirely disagree. Though I have not seen Greta Gerwig in any other role, she embodies her character to a tee. I wish she could play this character for her entire career. Unlike Lena Dunham's character in Tiny Furniture, Frances is quite likeable and relatable. Currently this is the only movie that I watched through the credits, mainly because David Bowie's Modern Love fits so perfectly into the soundtrack.

In conclusion, Frances Ha is one of those rare honest pictures about youth and the many difficulties youth must face. Of course, it may not reflect everyone's youth and may not appeal to an older generation, but I felt absolutely glued to Baumbach's work of art. Though I do wonder why Frances would continue being friends with Sophie despite her being extremely mean throughout the film. Praise it! 4/5

Black Narcissus Review- By Michael Carlisle

Title: Black Narcissus
Year: 1947
Director(s): Powell & Pressburger
Country: UK
Language: English

Made in a studio while the world was still recovering from the exhaustion of World War Two  Powell and Pressburger's masterpiece Black Narcissus, based on a 1939 novel by Rumer Godden, looked as far from the gray, postwar London as possible. The British duo filled the screen with high mountains, lush forests and blooming flowers. Powell himself called this the "most erotic film I had ever made." At first a picture primarily about the sexual lives of nuns seems ludicrous, but I found myself deeply moved by the images on screen.

After opening a convent in the Himalayas, five nuns, one played by the great Deborah Kerr, encounter conflict and tension - both with the natives and also within their own group - as they attempt to adapt to their remote, exotic surroundings.

Black Narcissus is a picture you ought to watch over and over again, mainly because there are a tremendous amount of layers. The use of color is extraordinary; at the beginning we are treated to vibrant over-the-top colors, then as the sisters slowly go mad the color changes subtly to fit the mood until we are shrouded in darkness. When Sister Ruth (Kathleen Byron) finally puts on her seductive red lipstick we are fully aware that doom is near. Powell's incredible use of music increases the dramatic tension, making Black Narcisuss as suspenseful as any Hitchcock film I've ever seen.

Powell and Pressburger observe the culture clashes between the willful nuns and the observant Indians without dismissing either point of view. I greatly appreciate that it is not preachy, nor does it attempt to justify colonialism. The cinematography is among the best in Motion Picture history. It actually looks like the nuns are on a mountain, when in reality the actors are being shot in a studio with mat background paintings. The acting, especially by Byron and Kerr, is superb.

In conclusion, Black Narcissus is easily one of the best films ever made. I am thoroughly impressed with the duo's innovative film-making techniques, and in awe of its rich exotic tapestry. Film critic Dave Kehr suggests that Black Narcissus should be taken with the historical context of Britain bidding farewell to their fading empire. One can view it with many lenses. Praise it! 5/5