Review #879: Hell or High Water (2016)

Title: Hell or High Water
Year: 2016
Director: David Mackenzie 
Country: US
Language: English

Scottish director David Mackenzie (Starred Up, Perfect Sense) shoots the rural scenery in Hell or High Water like a post-recession wasteland out of a Cormac McCarthy novel; and while he captures the spare, empty quality of the backdrop, he tends to also use repetitious heavy handed imagery to get his point across. Shots of oil drilling and debt relief signs are smart at first, but wear off by the 10th time they're used.

In this, a divorced father (Chris Pine) and his ex-con older brother (Ben Foster) resort to a desperate scheme in order to save their family's ranch in West Texas.

Comparisons to Unforgiven (1992) and No Country for Old Men (2007) are fair play given Hell or High Water's similar tone. Albeit Mackenzie's screenplay isn't as deep as the Coens' and it has no real interested in dissecting how the characters accept and reject western tropes. It is a relevant modern day Western that perhaps tries too hard to appeal to Southerners. Guns, pickup trucks and Southern grit are a plenty, as are indigenous people and silly racist southern people. One old man is shocked that the robbers aren't Mexican, isn't he adorable? 

Jeff Bridges plays a role he is pretty good at, the southern fried whiskey drinkin old school protagonist as seen in True Grit. He doesn't play this role any differently however, and I suspect all his southern roles are very similar. Chris Prine has matured in his acting ability and pulls off a good performance. Nick Cave and Warren Ellis produced the film’s music, which adds another twangy country layer to the material. The most memorable aspect of this picture is the cinematography by Giles Nuttgens, who perfectly captures the landscapes of West Texas. 

Honestly, I had not heard of Hell or High Water until it was nominated for an Academy Award. I most likely would have not thought of seeing it. Certainly a good "machismo" type of film, but not the type I'd revisit or give awards to. It's alright, but I'm sure I'll forget about it in a few months.

Review #878: Hidden Figures (2016)

Title: Hidden Figures
Year: 2016
Director: Theodor Melfi
Country: US
Language: English

Well before its 2016 publication, 20th Century Fox had purchased the rights to author Margot Lee Shetterly’s nonfiction book of the same name. Allison Schroeder and Theodor Melfi adapted the material into an accessible screenplay, and Melfi (St. Vincent) directed the picture with a populist mindset. It's a "hurrah hurrah" feel good "American as apple pie" kinda film, that I feel has been given too much praise. 

Hidden figures is the story of a team of African-American women mathematicians who served a vital role in NASA during the early years (1960's)of the US space program.

There is no doubt that Hidden Figures is an important story to tell, especially in our tumultuous times wherin white supremacy, and the desire to discredit black history, is at an unfortunate high point. Very few people, myself included, were aware of African American women's role in NASA. Perhaps the high point of the film is the charming performance of Taraji P. Henson, Ovtavia Spencer, and Janelle Monae. All three give this film a great deal of humor, airiness and sass. 

Unfortunately Hidden Figures is ripe with historical inaccuracy. Spencer's character had already had a supervising role, well before this film's setting. Janelle Monae's character was already an engineer and Taraji's character never had any issue with a "colored" bathroom (among other inaccuracies). I think this drastic of a departure from the truth really does a disservice to the matter-of-fact story that African American women helped put men into space. That would have been a great film on its own, but the drastic changes really sour the experience for me. 

While Mel Gibson proudly proclaims "A True Story" in Hacksaw Ridge, Hidden Figures writers think that they have to change their history to make it more accessible to audiences. Trying too hard to be a crowd pleaser, rather than a film with great integrity, I can't claim that this is a "great" film. It's a good popcorn flick to forget about on the drive home. It's history "based on a fictional story".

Review #877: Moonlight (2016)

Title: Moonlight
Year: 2016
Director: Barry Jenkins
Country: US
Language: English

Based on the play In Moonlight Black Boys Look Blue by Tarell Alvin McCraney, Moonlight is a beautiful sensitive coming of age story told in three passages, each with enough power to be three distinct short films. The Director, Barry Jenkins, hasn’t served as the director on a feature-length movie in the eight years since the release of his acclaimed directorial debut, Medicine for Melancholy, in 2008. This film's success suggests he used those years wisely, honing in on his craft. 

Moonlight chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami. 

Often Hollywood has a tenancy to summarize the "African American Experience" or "The Gay Experience" with too broad a brush, simplifying the lives of oppressed peoples and making their voices seem trivial. Thankfully Moonlight, with its poetry and grace, avoids broad statements and is a thematically-layered character study. Its writing is, for the most part, breathtaking. The actors who play the main character do a tremendous job at evoking sympathy from the audience. 

Through gorgeous lighting and raw cinematic imagery, often filmed by a handheld camera, Moonlight is able to make the film's most emotionally charged moments become even more visually striking. Jenkin's director of photography, James Laxton, make frequent use of closeups to further ensure that the scope of the film remains intimate and personal. The soundtrack can be jarring at times (ranging from Nicholas Britell's moving score to the rap-inspired Every Nigger is a Butterfly) but each works in the context of the scene. 

Moonlight is quite a creative accomplishment. Inspiring to its core, Barry Jenkins ought to be proud of his accomplishment. He must win Best Director at the Academy Awards and he MUST continue making films that speak to the soul of man. I'm certainly going to watch his previous works because of Moonlight.

Review #876: Change of Habit (1969)

Title: Change of Habit
Year: 1969
Director: William A. Graham
Country: US
Language: English

At this point in Elvis' career it is obvious that he was relishing completing his 10 year film contract as he had become completely disillusioned with the film industry, who had given him cookie cutter formulaic roles (He's singing in Hawaii get it!?) instead of more memorable and challenging feautres. His handler, Col. Tom Parker, preferred the easy money and turned down 1969 Best Picture Winner Midnight Cowboy and A Star is Born on Elvis' behalf. Change of Habit would be his last film. 

Elvis in an uncommon dramatic role playing Dr John Carpenter, an inner city Doctor working in a free clinic. Mary Tyler Moore plays a nurse and a catholic Nun who is sent by the catholic action committee with two others dressed as nurses to help him.

In Change of Habit Elvis manages to break away from the traditional song and dance to make a sentimental drama which shows that the King of Rock has a pretty wide acting range. The film's intriguing idea has a well-enough-constructed plotline to flesh out its premise for good family fair. Humor helps give this picture a faster pace, without it I fear Elvis' last picture would be a depressing bore. 

The chemistry between Mary Tyler Moore and Elvis Presley is unconvincing, which is strange considering they work so well in other pairings. Moore delivers a spirited performance, perhaps better than her male counterpart. One very disturbing aspect of the film is a scene that celebrates `Rage Reduction Therapy' (also known as `Holding Therapy'), a controversial treatment for Autistic children. It somewhat takes away from the picture, but I guess we can think of at a "film of its time".

Well...except that Change of Habit wasn't "of its time". New Hollywood was in full swing and people demanded more from their films. More sexuality, more violence, more blurred morality lines. Audiences of 69' dismissed this picture as a relic of the past and thus it didn't make much money in the box office. 

 

Review #875: Girls! Girls! Girls! (1962)

Title: Girls! Girls! Girls!
Year: 1962
Director: Norman Taurog
Country: US
Language: English

After the enormous success of Blue Hawaii (1961), Paramount producer Hal Wallis took Elvis back to Hawaii to film the location scenes for the film. Such colorful scenery was a staple of Elvis’s movies in the early 1960s. The formula was simple: unpretentious light musical comedy with plenty of Elvis musical numbers. There was one major difference, however, Elvis would no longer be supported by an experienced supporting cast. 

When he finds out his boss is retiring to Arizona, a sailor (Elvis Presley) has to find a way to buy the Westwind, a boat that he and his father built. He is also caught between two women.

In most of his previous film vehicles, Elvis had been surrounded by strong supporting casts. King Creole and Kid Galahad are two examples of how experienced co-stars helped enhance Presley’s performance and provide his films with credibility. The studio would begin to rely on Elvis' popularity alone, which seemed like a bit of a rocky strategy, especially because the character in this film was given rather shallow writing.Thankfully Elvis had improved his acting since the early days of his film career. 

Counting the light final production number there are 12 Presley tunes in the film. They average about nine minutes apart, with some being separated by as little as two minutes. Elvis' breakout performance, Return to Sender, helped sell a lot of soundtracks and earned Elvis a Golden Globe nomination for best actor. Unfortunately, due to reliance of the current dance craze ("the twist"), the choreography is sub-par particularly because its dated and out of Elvis' range. We want to see hip gyrations damnit! 

Girls! Girls! Girls! is an enjoyable little Elvis picture that tries its best out of a formula that is running out of gas. It features some good production design and cinematography. Elvis in Hawaii is an iconic image in the minds of his fans. 

Review #874: Blue Hawaii (1961)

Title: Blue Hawaii
Year: 1961
Director: Norman Taurog
Country: US
Language: English

For Paramount, producer Hal Wallis returned to the format that had worked so well for him and Elvis in G.I. Blues the year before. It was a formula of musical comedy laced throughout with plenty of Elvis tunes. The success of Elvis’s first post-army film and the relatively low box office returns of 20th Century Fox’s two dramatic vehicles for Elvis - both notable for not having much of a score- brought into focus the King's natural musical charisma. 

Chad Gates (Elvis Presley) has just gotten out of the Army, and is happy to be back in Hawaii with his surf-board, his beach buddies, and his girlfriend. His father wants him to go to work at the Great Southern Hawaiian Fruit Company, but Chad is reluctant.

Elvis’s acting ability was certainly not challenged in Blue Hawaii, but he handled his modest duties with enthusiasm and humor. At age 26, his physical maturity had put him beyond the “angry young man” role he had played in all but one of his previous seven films. The supporting cast provided a nice romantic atmosphere for our main character to interact with. Angela Lansbury nearly steals the film from Elvis, despite seeing Blue Hawaii as a low point in her career. 

The immediate screen chemistry between Elvis and his beautiful co-star, Joan Blackman, portraying the couple in love, is quite in evidence here and they both play off each other amicably. Of course he wouldn't be the King of Rock without a decent number of showtunes. These songs blended the local islands traditional themes('Aloha-oe', 'Ku-u-i-po', 'Island of Love'), with silly production tunes('Ito Eats' and 'Almost Always True') and a taste of the new movie-style rock 'n' roll numbers ('Rock-A-Hula Baby' and 'Slicin' Sand'). Its score became one of the best selling soundtracks of all time. 


Walter Tyler’s colorful sets and natural backdrops combine wonderfully with Charles Lang Jr.’s picturesque photography, Warren Low’s snappy editing. Elvis certainly has made better films (Jailhouse Rock) but that doesn't mean Blue Hawaii isn't good cinematic entertainment. 

Review #873: Shanghai Noon (2000)

Title: Shanghai Noon
Year: 2000
Director: Tom Dey
Country: US
Language: English

Much of Cinematic History has a long-standing tradition of West influencing East and vice-versa. The John Ford/Howard Hawks Westerns of the 30's and 40's inspired Eastern film-makers (Akira Kurosawa) to make samurai pictures in the 50's. This then inspires Italian filmmakers of the 60's to create the Spaghetti Western, which then inspires the Chinese to make their Hong Kong action flicks of the 70's and 80's, which is how Jackie Chan became a star. Shanghai Noon is a neat film that tries an "East meets West" plot (albeit under a traditional Western narrative).

In this, a Chinese man (Jackie Chan) travels to the Wild West to rescue a kidnapped princess. After teaming up with a train robber (Owen Wilson), the unlikely duo takes on a Chinese traitor and his corrupt boss. 

Jackie Chan is an entertainer who transcends any specific culture. His astonishing physical gifts, which made him a star, find a perfect counterpoint in Mr. Wilson's goofy verbal riffing. The most notable aspects of the picture are the impressively choreographed fight scenes, all in the slapstick style that evokes the great silent pantomime artists like Charles Chaplin and Buster Keaton. This, moreso than the writing (albeit the writing is also very good), made me laugh quite a bit. 

Mel Brooks-esque in humor, Shanghai Noon traffics in the high farce of multicultural misunderstanding. It tweaks stereotypes even as it spoofs multicultural sensitivity. Overall it is, in classic western tradition, a celebration of male bonding, unabashedly juvenile, boyishly risque and disarmingly sweet. Owen Wilson and Jackie Chan have an undeniable chemistry that would certainly entice their Studio to put them in more flicks. 

Shanghai Noon is a very good natured breeze of a picture. Even when its plot slows down toward the end, we can't help but still feel attached to the characters and their situation. While it isn't a "great" film, it's still one of the better comedies to come out of the early 2000's.

Review #872: The Indian in the Cupboard (1995)

Title: The Indian in the Cupboard
Year: 1995
Director: Frank Oz
Country: US
Language: English

Adapted by screenwriter Melissa Mathison (E.T. the Extraterrestrial) from Lynne Reid Banks' popular children's book, and directed by ex-Muppeteer Frank Oz (The Little Shop of Horrors), Indian in the Cupboard seems to be best left in the 1990's, when the world wasn't so fixated on political correctness in children's movies. I can't imagine this film (or it's title) actually making it to theatres in the 2010's, not that it's has racist overtones, but race in general nowadays is a subject one would has to walk on eggshells with. 

On his ninth birthday a boy receives many presents. Two of them first seem to be less important: an old cupboard from his brother and a little Indian (Indigenous, aboriginal etc.) figure made of plastic from his best friend. The cupboard turns the (insert correct wording) toy into a living person (albeit same size) 

Indian in the Cupboard works best when focused on the enticing mystery at the center-point of the picture. This film's real-world characters are never as interesting as, say, a shootout in which tiny arrows make the lights flash on a boy's gigantic running shoe. It's a gimmick that can remind one of Toy Story, albeit that had far more energy and its gimmick didn't lose my interest halfway through the picture.

Frank Oz, who injected most of his pictures with humor and vivacity, seems to have dropped that here. Even the music is banal and lacks any sense of place. Oz does a good job at treating the Iroquois man with dignity, but he is so focused on making a poignant statement about racism that he seems overly cautious and treads a bit too lightly. 

The special effects wizardry is unique no doubt, albeit the many uses of close-ups suggest Oz and his cinematographer were limited in skill. Indian in the Cupboard is a clean, family-friendly, somewhat whitewashed picture about race relations that unfortunately is a bit dated compared to other films from the 90's. I enjoyed it as a kid, tolerated it as an adult.

Review #871: The Simpsons Movie (2007)

Title: The Simpsons Movie
Year: 2007
Director: David Silverman
Country: US
Language: English

The Simpsons began in 1989, birthing a cultural phenomenon unmatched for animation, making it the longest running comedy program on television just after Saturday Night Live—certainly the longest-running animated series ever. As of right now there have been 28 Seasons, despite the first 13 only really being considered "great", and there are no signs of stopping. Devout fans know creator Matt Groening and producer James L. Brooks have been pushing for a film since the series’ inception, and although this is quite belated, at least it finally hit cinemas. 

After Homer accidentally pollutes the town's water supply, Springfield is encased in a gigantic dome by the EPA and the Simpson family are declared fugitives. 

I recall episodes similar to this film's plot: when Mr. Burns tries to blot out the sun and his attempted assassination follows, or when Homer exposes the secrets of Springfield’s residents only to be kidnapped by the government for being too dangerous. Here we have a forumlaic not-so-subtle pro-environmentalist picture that is adequately written and fairly sentimental. Most impressive is the animation, which brings out the richness of Springfield's environment and characters. 

I appreciate that the movie doesn't shove gags down our throats, unlike most modern comedies. I dislike that the more witty and obscure references from the show are toned down to make this picture more commercial. Instead of an intelligent Hitchcock observation we get...spiderpig. I was 15 at the time this film hit theatres, The Simpsons movie was supposed to appeal to a young audience, but I just found so many moments dull. Groening tries very hard to be "hip", but doesn't win over his intended demographic. 

While I've re-watched the show many times throughout the years, heck I just watched some of Season 10 today. I haven't had any desire to revisit The Simpsons Movie. It's alright, nothing to write home about. It isn't as faithful to the show as you might hope, and if you are a big Simpsons fan then you might even be a little disappointed. 

Review #870: The Untouchables (1987)

Title: The Untouchables
Year: 1987
Director: Brian De Palma
Country: US
Language: English

Shortly after Eliot Ness brought down Prohibition mobster Al Capone, stories about Ness’ group of handpicked, incorruptible “Untouchables” became the stuff of romanticized storytelling. Americans invited these stories into their homes from 1959 to 1963 with an ABC television series of the same name, starring Robert Stack as Ness. Based on the 1957 book, which Ness co-wrote with Oscar Fraley, Brian De Palma's film reinforces those dreamy visions of Ness’ heroism for the Cinema. 

Federal Agent Eliot Ness (Sean Connery) sets out to stop Al Capone (Robert DeNiro); because of rampant corruption, he assembles a small, hand-picked team.

The Untouchables represented a crucial point in his career. De Palma’s last two films, Body Double (1984) and Wise Guys (1986), flopped at the box-office, and he needed something that would show the studios he could direct a profitable picture. Only then could De Palma once again explore his more independent, personal features. It's an intoxicating gangster feature that aesthetically supports the Hollywood vision of a glamorous era of attractive violence, while thematically tearing that vision apart.

De Palma's Mise En Scene is incredible in The Untouchables. Every frame perfectly captures this period in American history, even the architecture is a feast to behold. Throughout the film, characters begin to take on the larger-than-life personalities of their surroundings—the vaulted ceilings, ornate walls, and mannerist styles. The shots perfectly capture the mood of the characters and their surroundings. The Untouchables opens with an overhead shot looking down on Al Capone in a barber’s chair, a throne that De Palma uses to make Capone seem like a king. 

The film is quite complicated in regards to the morality of each character. Eliot Ness wants to be the "hero" of the story, but is slowly falling under his own principles. There is no doubt that The Untouchables was made by a technical master in De Palma; he has made quite the visual splendor of a film.

Review #869: The Crow (1994)

Title: The Crow
Year: 1994
Director: Alex Poryas
Country: US
Language: English

Brandon Lee had only three days of filming left of The Crow when he was killed. The story goes that there was a scene involving a gun fight, one of the guns was accidentally loaded with real bullets instead of blanks and Lee would find his end at the end of a barrel. Though there are some scenes in shadow that use a double, and some computer-enhanced scenes that seamlessly lift his image from one setting and place it in another, Lee's performance is still noteworthy. There is no doubt that this role would have led to more mainstream success for the actor. 

Brandon Lee stars as brutally murdered man, who comes back to life as an undead avenger of his and his fiancée's murder

The Crow has a unique visual style, created by cinematographer Dariusz Wolski, who lifted his ideas from gothic graphic novels (The Crow itself was originally a graphic novel). The camera swoops high above the city, or dips low for extreme-angle shots. Shadows are ever present, striking fear into the viewer. Buildings have exaggerated architecture that is reminiscent of Tim Burton's Batman. It's essentially a film-noir in terms of visual language. 

The Crow is faster paced than a film noir however, and it evokes its gothic style far better than Batman ever could. It has a bleak modern sensibility, which is compounded by the wall-to-wall hard rock soundtrack which features The Cure, Nine Inch Nails, and Pantera among others. The script is adequate for a violent revenge picture (though not on the same level as Oldboy)but its main success is creating such a bizarre and intriguing world. Despite being 23 years old, The Crow doesn't seem as aged as some of its contemporaries,

Brandon Lee's swan song is an adrenaline feast which benefits from having startling images burst through the screen. It is one of the best comic-to-film adaptations I have seen as it is a work of technical brilliance. It is quite unique, a "must see" for the visuals for-sure. 

Review #868: Ratatouille (2007)

Title: Ratatouille
Year: 2007
Director: Brad Bird
Country: US
Language: English

Pixar does a tremendous job at allowing audiences to connect with things they normally wouldn't.  Finding Nemo found warmth in the cold blooded, scaly creatures of the deep; Cars brought inanimate metal to life; Toy Story turned hunks of plastic into empathetic human-like beings. Ratatouille seeks to do the same, albeit with creatures much harder to love. Granted talking furry rodents are hardly a novelty in cartoons, people have been entranced by Mickie Mouse for decades, but Ratatouille isn't anthropomorphic (at least physically) and he seeks to be a professional cook. In any other world, this scenario would be "icky" at best. 

In this, a rat named Remy (Patton Oswalt) who can cook makes an unusual alliance with a young kitchen worker at a famous restaurant. 

Written and directed by Brad Bird and displaying the usual meticulousness associated with the Pixar brand, “Ratatouille” is a nearly flawless piece of popular art that is both simple and sophisticated. Though the art is not ground breakingly impressive, the animation is still remarkable and has the sensibility that could only come from a former Simpsons animator. Ratatouille is a cautious film, Bird knows all the cliches and does his best to avoid them. We do not get the same lazy plot structure that plagues other Disney pictures. 

As a character Ratatouille is rather complex. He is cute and attempts to be ethical, but can also be demanding and insecure. Trying not to overwhelm its audience with excessive noise and sensation, the film does have some frenzied kitchen choreography but ultimately is about character development and steadily growing complications.  Ultimately Ratatouille celebrates the passionate, sometimes aggressive pursuit of excellence.

Ratatouille is perhaps my favourite Pixar movie. Remy is an engaging protagonist, Mr. Ego (Peter O' Toole!) is an entertaining antagonist. The situations the characters find themselves in have fairly unpredictable resolutions. The writing could easily be considered the best Disney/Pixar has had in a long while. 

Playtime (1967) Review- By Michael J. Carlisle

Title: Playtime
Year: 1967
Director: Jacques Tati
Country: France
Language: French

Upon its release in 1967, PlayTime was the most expensive film ever made in France. And yet, it contains almost no story and its dialogue is mostly inconsequential. Like Tati’s other pictures, the dialogue has been post-synchronized and its volume turned down to direct our attention to forms of behavior and visual gags in the impractical spaces he’s chosen to depict. The spaces were inspired in part by French president Charles de Gaulle who, upon being elected, made a vow to develop his country’s economy and reform Paris into a modern city. The city of the future was on its way, and its expansion was modeled according to dull, functional, pointedly Americanized specifications.

Tati's curious character curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. Meanwhile, a nightclub/restaurant prepares its opening night, but it's still under construction. 

Tati’s famous alter ego Monsieur Hulot, who first appeared in M. Hulot’s Holiday (1953) and then Mon oncle (1958) walks around the impressive Tativille, a satire of Paris at the time, bemused and bewildered at the sights and sounds of this daunting metropolis. One can compare this picture to Charles Chaplin's Modern Times, although while the Tramp was focused on technology of the future Tati is focused on the architecture. It's a visually impressive picture, so large in scale that our eyes can't help but examine every detail in each shot. 

The experience of PlayTime amounts to a series of moments and gags realized over a leisurely runtime. Some gags remain unresolved and some will surpass the viewer over multiple viewings. Tati himself considers Playtime to be "abstract art". He resists narrative in favor of a methodical and mannered formal technique. By placing his audience at a distance and allowing wonderfully choreographed moments to unfold before us we are provided a unique filmgoing experience, though admittedly it might turn modern audiences off. 

Upon its release in France Playtime received a tremendous amount of public criticism and, due to political circumstances of the time, it did not make as much money as Tati hoped. Playtime is not the easiest picture to get into, but patience is greatly rewarded. I knew I was watching something unique, I have never seen another film quite like this. 

Fences (2016) Review- By Michael J. Carlisle

Title: Fences
Year: 2016
Director: Denzel Washington
Country: US
Language: English

Last year's #Oscarssowhite controversy inspired Hollywood to release more films starring black actors in 2016. Fences is nominated for many awards this year, including Best Picture, and the majority of critics and filmgoers would say that it is well deserved. Fences was not based off an original screenplay; it first appeared in 1985 as part of playwright August Wilson’s “Pittsburgh Cycle,” a series of ten plays, each of which considers the African-American experience in a specific decade throughout the twentieth century. The character’s natural place exists on the stage, but certainly translates well to Cinema. 

Denzel Washington plays a working-class African-American father named Troy who tries to raise his family in the 1950s, while coming to terms with the events of his life. 

Fences takes place before the Jim Crow laws were abolished and before the Voting Rights Act of 1965, but also in a time of rampant change when the Civil Rights Movement would begin to pick up momentum. Denzel Washington plays an incredibly complex character; a man who has had a disappointing life and is not able to comprehend the change in the world. From a historical perspective, Troy stands as a product of his time and a sad reminder of the pre-Civil Rights era

This film has quite a lot of depth; it can be viewed as a sociological study of inter-generational conflicts and how our environment can shape us or destroy us. There are many people in this world who are shattered because of what happened a generation ago. There are many people who can move past it and find success, whatever that may be. Driven by character, dialogue and performance, Fences is perhaps the best written film of this year. 

The direction, cinematography, score and mise en scene prove that Denzel is a masterful filmmaker and knows how to use Wilson's brilliant script to his fullest extent. Fences is a brutally honest film that hits the gut and makes us reflect on our own existence.

The Ten Commandments (1923) Review- By Michael J. Carlisle

Title: The Ten Commandments
Year: 1923
Director: Cecil B. DeMille
Country: US
Language: English

Cecil B. DeMille’s 1923 The Ten Commandments is quite the landmark for the now beloved director of Golden Hollywood. While not technically his first historical epic (that was the 1916 Joan the Woman), it was his first Biblical pageant and his first financially successful epic. It also marked a transitional period for the man. A witty director of sex farces and sexy romantic comedies with jazz-age sensibilities, DeMille was becoming more pious and humorless in his work. Perhaps he had a life crisis and thought that he had to please God with his work. 

The first part of The Ten Commandments tells the story of Moses leading the Jews from Egypt to the Promised Land, his receipt of the tablets and the worship of the golden calf. The second part shows the efficacy of the commandments in modern life through a story set in San Francisco.

DeMille spends a mere 45 minutes (of the film’s 135-minute running time) in ancient Egypt with Moses the Law Giver, who has already unleashed nine plagues as the film opens. Viewers will find themselves a little disappointed, considering his 1956 remake dwells on the more shocking events of the story for a much longer time. In this part the director demonstrates his showmanship; stunning special effects bring about the parting of the red sea, the wall of fire, and many great pyrotechnics. 

The second part of the film, which takes place in the Jazzy 1920s, is brighter, snappier, driven by the pace of life in the twenties and the lively energy of the jazz-age character. It's certainly funner (albeit less of an epic spectacle) to revel in sin rather than live among Moses. DeMille is more judgmental here than in his other jazz-age melodramas, which at least appreciated the sexual energy of his lively characters even as they brought everything back to the comfort of the status quo: home, hearth, family, responsibility.

This silent version of Cecil B. Demille's The Ten Commandments is entertaining, but lackluster compared to his 1956 Oscar winning remake. It's technically well-made but those expecting to be fully engulfed in the story of Moses will be disappointment. Hard to review this on its own, because it works better as a companion piece to the bigger epic. 

The King of Kings (1927) Review- By Michael J. Carlisle

Title: King of Kings
Year: 1927
Director: Cecil B. Demille
Country: US
Language: N/A

Though a few films had been made about the story of Jesus Christ previously, Cecil B. Demille's The King of Kings turned out to be the silent screen’s most elaborate realization of “the greatest story ever told." The film cost at least $1,265,000 (inflated by press agents to $2,300,000), with sets and crowd scenes rivaling D.W. Griffith’s Intolerance in scale and ornateness. The monumental devastation unleashed by Christ’s crucifixion dwarfs even the grand scale of later Hollywood pictures like the Stephen Spielberg's Indiana Jones and the Last Crusade.

The story of the life of Jesus Christ from his birth in Bethlehem to his crucifixion and subsequent resurrection. Filmed on a relatively grand scale, the film includes all of the major events referred to in the New Testament.

Many actors have portrayed Jesus Christ throughout cinematic history, my favourite being Peter O' Toole in The Ruling Class, but H.B Warner chooses a rather unique way to portray his Lord. Rather than using great expression, possibly due to fear of chewing the scenery, Warner chooses to play second fiddle to the mesmerizing special effects scattered throughout each frame. Thus Christ’s charisma is evoked through the power of cinema—a mesmerizing repertoire of special effects, lighting and editing—rather than through compelling acting. It's quite a different approach, but it works. 

The New Testament sequel to DeMille’s earlier The Ten Commandments (1923) was as controversial in its day as Martin Scorsese’s The Last Temptation of Christ was in 1988. Although DeMille made his film under the pious supervision of clergy, he still laced the picture with some sexuality. Heck, the film opens with a lavish orgy (albeit not showing as much skin as 2017 filmgoers are used to)

The King of Kings is a LONG movie (just over 3hours) but its large budget was put to pretty good use. We are treated to excellent cinematography, exceptional editing, beautiful photography and a very technically sound picture that will appeal to Christians and non-Christians alike. I enjoyed this silent and would certainly re-watch it many more times in the future.

The Flying Ace (1926) Review- By Michael J. Carlisle

Title: The Flying Ace
Year: 1926
Director: Richard E. Norman
Country: US
Language: N/A

The Flying Ace is the only complete surviving feature of the Norman Film Manufacturing Company, a Florida-based independent studio that specialized in, what the public called, "race films". Richard E. Norman was the head of this company. He was a white southerner who did not seek to include the sort of insulting, dangerous, condescending stereotypes that plagued D.W. Griffith's features. Black audiences found his pictures a refreshing departure from the 1920's norm. 

A veteran World War I fighter pilot returns home a war hero and immediately regains his former job as a railroad company detective. His first case: recover a stolen satchel filled with $25,000 of company payroll, locate a missing employee, and capture a gang of railroad thieves.

It's quite remarkable to see a 20's silent give such humanity to African Americans. At the time, the mostly Caucasian public would flock to pro-confederacy flicks like Buster Keaton's The General. Black people in film were usually portrayed as infants, fools, or monsters of terror. The story of The Flying Ace can be viewed as existing in an alternate 1920s, one that contains no white characters, no racism and absolutely no content that would have been considered political. Richard E. Norman chose to avoid making the story a political statement, instead letting his brave, bold African American characters (literally) speak for themselves. 

Costume, cinematography and set design are all great for a low budget film of the silent era. The writing does a modest job at telling the story and highlighting each character. Kathryn Boyd is a wonderful addition to the cast. She's a charming heroine who captures the screen with her body language. I'd say the only problem with this picture is the excessive use of title cards. There is far too much of them, with far too much information. I'd rather they have shown an extended scene rather than describe it in a title card. 

Unfortunately, because of it's low budget, there's no flying in The Flying Ace. However, despite this setback, the picture is remarkably entertaining. Even if this had no historical importance I would still give it a pretty high rating. Richard E. Norman's only surviving picture is one hell of a ride.

Multiple Maniacs (1970) Review- By Michael J. Carlisle

Title: Multiple Maniacs
Year: 1970
Director: John Waters
Country: US
Language: English

Why the high-brow gatekeepers at Janus Films/Criterion decided to painstakingly restore John Waters' early pictures is anyone's guess. Waters’ second feature, Multiple Maniacs, is one of the most bizarre films you'll see in your lifetime. Very few people have seen it though, mainly because it received limited theatrical distribution and an incredibly quiet VHS home video distribution. Rated X upon release, this picture will make you feel really dirty.

Lady Divine (Divine) becomes enraged when her boyfriend cheats on her, and descends into a life of murder and mayhem. 

Shot in low-contrast, frequently grainy black-and-white—Waters cinematic endevour...still doesn't look that great even when given a good restoration. Waters is happy with this however, as he likes that his film has a trashy look to it. Given that Waters has actually published a book titled Shock Value, you wouldn't be wrong to assume that Multiple Maniacs' attraction is purely shock value. There were many scenes where I just had to look away. 

Unapologetic in it's WTF attitude in regards to what can and can't be shown onscreen, one must admire how far we've strayed from the Hays censorship code of the Golden Hollywood era. Multiple Maniacs is a film only John Waters could make. It isn't beholden to the conventional building blocks of narrative, such as character development or resolving a social problem. It doesn't have a moral compass and it can't easily be categorized and compared with other contemporary works. 

If you've seen Pink Flamingos you may get a sense of Multiple Maniacs' style, but I assure you that nothing can prepare you for this film. I had a very hard time getting through it and can't really recommend it to anybody. Showing no restraint, Waters goes all out on depravity. 

No Rating

Spring Breakers (2012) Review- By Michael J. Carlisle

Title: Spring Breakers
Year: 2012
Director: Harmony Korine
Country: US
Language: English

The director of Gummo, Mister Lonely, Julien Donkey-Boy, and Trash Humpers, Harmony Korine, has made her most accessible, mainstream, and controversial film yet with Spring Breakers. Critics find this picture polarizing. It is often viewed through two perspectives; either a genius satire of American pop culture or it is mindless sleaze on the level of a Russ Meyer venture. I tend to lean toward the former. 

Four college girls hold up a restaurant in order to fund their spring break vacation. While partying, drinking, and taking drugs, they are arrested, only to be bailed out by a drug and arms dealer named "Alien" (James Franco)

Spring Breakers is not the type of film you should bring your mother to. The film doesn’t show much in the way of graphic sex acts, aside from the one don’t-try-this-at-home scene of man-on-gun fellatio, but it does contain A LOT of gyrating T'n'A. The camera lingers on long shots of bikini clad women, partying to their hearts' content. You'll be forgiven if you mistake this for a feature length Girls Gone Wild video.

Lingering beneath the booty-ful surface is great satire. With Spring Breakers Korine holds a mirror up to America's scary obsession with guns, drugs and sexual exploitation. It shows the emptiness of that existence and the complete lack of meaning our generation gets from always trying to have a "good" time. Deliberately crude in its construction, Korine’s affectless spectacle comments on debauchery, alienation, and sexism by unironically, even lecherously, wallowing in it.

 Spring Breakers is a well made piece of Cinema that will have viewers pondering its message long after the run-time is over. Indulgent, funny, dark, provacative and controversial, Harmony Korine's directorial effort is certainly noticed and appreciated. 

Birth of a Nation (2016) Review- By Michael J. Carlisle

Title: Birth of a Nation
Year: 2016
Director: Nate Parker
Country: US
Language: English

Before watching Birth of a Nation I read a few reviews to get a sense of what the film would be like. Some critics said that Director/Actor/Writer Nate Parker was essentially a black Mel Gibson, a man who makes ultra-violent Christian movies and has a checkered personal life. Indeed Birth of a Nation's success has been tainted by Parker's 1999 rape allegations, though for the purpose of this review I'm going to separate art from the artist because this is a damn fine film. 

Nat Turner (Nate Parker) is a literate slave and preacher, whose financially strained owner, Samuel Turner (Armie Hammer), accepts an offer to use Nat's preaching to subdue unruly slaves. As he witnesses countless atrocities - against himself and his fellow slaves - Nat orchestrates an uprising in the hopes of leading his people to freedom.

If you think you've heard this title before then you are correct. Nate Parker purposefully used the title of D.W Griffith's 1915 KKK epic to make a point. Parker told Filmmaker magazine at his film’s Sundance debut, "I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country." Birth of a Nation came out at a relevant time in the United States due to protests fed by outrage against questionable police shootings, the existence and apparent necessity for Black Lives Matter and the frightening possibility of a long term alt-right presidency. 

It will come to no shock when I tell you that Parker consulted Mel Gibson prior to shooting The Birth of a Nation. What becomes evident is how Parker’s script bears similarities to Gibson’s The Passion of the Christ (2004) and ends in a way familiar to Braveheart (1995), complete with a tortured hero and an not-so-subtle use of religious iconography. Parker's script is brilliant; providing a slow build to the uprising and showing the rising tension of religious ideology.

Considering this was made in a month on a shoestring budget it's amazing how well made the film is. Elliot Davis’ gorgeous cinematography captures some beautiful and horrific scenes from the Savannah-based production. The score isn't the most original, but does add to the emotionally powerful moments. Though I'm not religious myself, I must admit that I loved this crisis of faith picture. 

Ten Favourite Simpsons Episodes

Created by Matt Groening, The Simpsons is the longest running animated and episodic television series in the world. With 28 Seasons, the show has been running since 1989 and will likely be in syndicate for the next 30+ years with reruns and new episodes. It is a pop culture phenomenon that continues to lure in a new generation of fans, even though it can be argued that the show "jumped the shark" in the 9th season with the episode Principal and the Pauper.

While I'm not a superfan in the sense that I MUST  buy all Simpsons related merchandise, I must admit that I've seen every episode from Season 1-17 at least three or four times. When I was young I would co-ordinate my schedule so I would not miss an episode of The Simpsons and as a result I viewed 14 episodes a week on average. I still watch the show, albeit older episodes, when I have the time and you'll still find me quoting the series in everyday conversation. "Did you say boo or boo-urns?"

With that in mind I think I'm qualified to name my ten favourite Simpsons' episodes. Let me know what your favourite Simpsons' episodes are.

10. The Last Temptation of Homer (Season 8)

Homer struggles with the idea of cheating on Marge

9. One Fish, Two Fish, Blowfish, Bluefish (Season 2) 

Homer might die from eating poisoned sushi

8. Homer the Heretic (Season 4) 

Homer decides he doesn't want to go to church anymore

7. Hurricane Neddy (Season 8)

A Hurricane destroys Ned Flanders' home

6. Beyond Blunderdome (Season 11)

Homer has to help Mel Gibson with his movie

5. Homer's Enemy (Season 8)

Homer has an enemy at work

4. Homer vs. Lisa and the Eight Commandment (Season 2)

Homer struggles with "thou shalt not steal"

3. Homer vs. The 18th Amendment (Season 8)

Homer makes illegal booze

2. Rosebud (Season 5)

Burns wants his prized childhood bear back

1. Das Bus (Season 9)

Lord of the Flies Simpsons' style!