Johnny Guitar (1954) Review

Title: Johnny Guitar
Year: 1954
Director: Nicholas Ray
Country: US
Language: English

Before the onset of counter-culture & women’s liberation movements and the subsequent explosion of American independent film culture, American films of the 1950s brought forth the issues of race and sexual inequality through a more cinematic light. Beloved genres, such as the uber-masculine Western, would go through great changes, which would clash with more traditional conservative ideology. 

After helping a wounded gang member, a strong-willed female saloon owner (Joan Crawford)  is wrongly suspected of murder and bank robbery by a lynch mob.

The 1950's gave way game-changing yet conventional Westerns like Shane (1953) in addition to political Westerns like High Noon (1952). Johnny Guitar, made a year before Nicholas Ray's most famous work Rebel Without a Cause (1955) is the latter; the seemingly simple plot nature is layered with psycho-sexual conflicts, complex femininity and critique of McCarthyism. It's offbeat, mythical, funny and unapologetic. 

Joan Crawford's Vienna is a remarkably strong female character in the American Frontier. She's a gun-toting self-reliant ambitious woman who is far from being a symbol of traditional feminine ideals. Incredible staging, inventive camera-work and memorable dialogue also make for an impressive picture that has a lot of dramatic power.

A bold, stylized, political picture that remains inspiring more than half a century after its initial release. Johnny Guitar draws a lot of praise and criticism; thus its a must-see in order to determine which side you fall on.

Braveheart (1995) Review

Title: Braveheart
Year: 1995
Director: Mel Gibson
Country: US
Language: English

As a Scottish Canadian it was pretty much mandatory to watch Mel Gibson's Braveheart in order to "understand my heritage". The film concerned the Scottish Wars of Independence (1296-1357), a century of conflict regarding Scotland's desire to be independent from England. My ancestors (probably) participated in this battle & thus I am automatically compelled to root for the protagonist of the picture, William Wallace (Mel Gibson). 

When his secret bride is executed for assaulting an English soldier who tried to rape her, Sir William Wallace begins a revolt against King Edward I of England.

Is Braveheart historically accurate? Hell no. It's likely Mel Gibson's most egregious work in terms of accuracy. What the film does offer is classic Gibson religious imagery/allegory and an astounding amount of visceral violence. Crafted with precision and told with composure, the expertly staged brutal battles give us a good idea of what gaining independence meant to the Scottish. 

The medieval set pieces come alive in meticulous detail. Cinematography is spot-on, applying right techniques to amplify the picture's most emotional and desperate moments. James Horner's intimate score enhances Mel Gibson's imposing screen presence and creates an atmosphere of great struggles and even greater triumphs. 

While Braveheart is distorted history and borderline propaganda, it still proves to be an entertaining picture and one of the 1990's best "Best Picture" winners. Has Cinema ever incorporated the act of mooning someone so well? The answer is simply "no". 

Apocalypto (2006) Review

Title: Apocalypto
Year: 2006
Director: Mel Gibson
Country: US
Language: Maya

The Maya Civilization, a Mesoamerican civilization developed by the Mayan peoples, developed in an area that encompasses Mexico, Guatemala, Belize, Honduras and El Salvador. Their society was first established around 2000 BC, peaked around 250 AD, and were sadly conquered by the Spanish in the 16th Century AD. Mel Gibson, acclaimed director of Braveheart, sought to depict the end of the civilization with his controversial Apocalypto (2006).

As the Mayan kingdom faces its decline, a young man named Jaguar Paw (Rudy Youngblood) is taken on a perilous journey to a world ruled by fear and oppression.

Co-written & directed by Mel Gibson, Apocalypto employs ancient languages of its setting for dialogues, just like his previous picture Passion of the Christ (2004), in order to create an authentic re-imagining of the period. The era-specific set pieces are a result of extensive research and the well chosen shooting locations assist his audience in being drawn into a foreboding  ancient atmosphere.

Unfortunately, despite the research Gibson did do, many reputable sources (which include National Geographic) state that the film isn't entirely accurate. He often mistakes Aztec Civilization traits, such as sacrificing a large amount of people at once, for Mayan. He also blends two entirely different time periods together, some scenes happened 600 years apart in real life. 

A mix of truth and fiction, Apocalypto is a visually powerful film that, like most of Gibson's work, is extreme in its violence, yet epic in its scope. His camera has a great eye for detail as this epic adventure remains entertaining throughout the run-time. 

Hotel Rwanda (2004) Review

Title: Hotel Rwanda
Year: 2004
Director: Terry George
Country: Canada
Language: English

The Rwandan genocide was the mass slaughter of a social/ethnic class called the Tutsi caused by the Hutu majority in 1994. The widespread murder killed over a million Rwandans, 70% of the Tutsi population, over a 100 day period. When the genocide ended over 2 million Rwandans were displaced and became refugees.

The film Hotel Rwanda is about Paul Rusesabagina (Don Cheadle), a hotel manager who housed over a thousand Tutsi refugees during their struggle against the Hutu militia in Rwanda.

Hotel Rwanda succeeds in conveying human tragedy on a scale that is both vast and intimate. The magnitude of the horror outside the hotel compound is presented only in glimpses, such as Rusesbagina stumbling upon a road of corpses, but these glimpses give quite an adequate frame of the ongoing madness and butchery. Dead is ever-present. Time and time again our "heroes" escape horrifying situations by the skin of their teeth. 

Unfortunately the film lacks a bold political statement, albeit Colonel Oliver (Nick Nolte) does give an angered line about how Europeans view Rwandans as "not even good enough to be n**gers". The real tragedy of Rwanda is how many lives were needlessly lost because Europeans & Americans wouldn't bother intervening. I suppose because the history was fairly recent, Director Terry George doesn't want to step on too many feet. 

The politics are soft-pedaled, as the picture focuses more on the perseverance of the hotel owner rather than the short-comings of powerful nations. Hotel Rwanda needed a big message to be considered "great".  Still, the straightforward narrative regarding the genocide is powerful and, by never sensationalizing each moment, holds a tremendous amount of truth. 

Harry Potter 1-4 (2001 - 2005) Reviews

On June 26th, 1997 British writer published her first novel in the Harry Potter franchise Harry Potter and the Philosopher's Stone. The result was great critical and commercial success; spawning a billion-dollar film franchise that generations of young adults would go to the theater to enjoy. Rowling sold the first four Harry Potter books to Warner Bros. for $1 million, though she did have creative control & was the main reason the cast was almost entirely of British origin. 

Quick note: I'm only reviewing films 1-4 because these are the only ones I have read/seen & I have no desire to watch the rest of the franchise. 


The Sorcerer's Stone (2001)

Rescued from the outrageous neglect of his aunt and uncle, a young boy with a great destiny proves his worth while attending Hogwarts School of Witchcraft and Wizardry.

Director Chris Columbus (Home Alone) makes the first film in the franchise a rather light affair that is clearly aimed at entertaining children, Which is fine this time around, as the darker elements of Harry Potter come into play in the later books. In addition the inexperienced child actors (Radcliffe was 12 at the time) likely would not have been able to create any real serious tension. 

The actors struggle with simple lines of dialogue & the special FX artists animate various CGI creatures so poorly that it almost ruins the elegant set design and fantastic costumes. The tangible imagery is remarkable, whereas anything computer generated comes off as amateurish, which is a shame for a film with a budget so big. 

Ultimately it's a passable film, if only because it's the beginning of a franchise that has potential to become something greater. 

The Chamber of Secrets (2002)

Harry ignores warnings not to return to Hogwarts, only to find the school plagued by a series of mysterious attacks and a strange voice haunting him.

Director Chris Columbus directs the second picture in the franchise and is unfortunately still stuck in child-mode. You'd think a film consisting of blood being written on walls, moaning ghosts in the girls’ bathroom, and hundreds of spiders trying to eat the main characters would be a darker cinematic experience, but these scenes are toned down with humor that doesn't fit and light fluffy (no,not the dog) moments that cater to more primitive minds. 

The dialogue is awful in this one, which is unfortunate because Rowling's original text didn't have awkward villain monologue moments or characters constantly reminding Harry Potter about what he just went through. At least the three main child actors can deliver this awkward dialogue better than the first? That's an improvement right? 

Prisoner of Azkaban (2004)

It's Harry's third year at Hogwarts; not only does he have a new "Defense Against the Dark Arts" teacher, but there is also trouble brewing. Convicted murderer Sirius Black has escaped the Wizards' Prison and is coming after Harry.

Thank goodness Chris Columbus was removed from the directing chair and replaced with a more competent director in Alfonso Cauron (Y Tu Mama Tambien). The first two films were conventional little pictures that tugged at 10 year old heartstrings, whereas this picture bursts with energy and feels darkly atmospheric. 

The use of CGI and special effects remain secondary to story, so rather than being in awe of spectacle for the sake of spectacle, we can actually care about character relationships for the first time in the series. Prisoner of Azkaban is an artistic developing film that does away with cheeky childish humour and boorish dialogue, and replaced it with a fantastic plot and equally engaging character development.

The Goblet of Fire (2005)

Harry Potter finds himself competing in a hazardous tournament between rival schools of magic, but he is distracted by recurring nightmares.

Director Mike Newell (Donnie Brasco) is no Alfonso Cauron in terms of pure unadulterated talent and therefore Goblet of Fire cannot possibly hold up to the previous picture Prisoner of Akzaban (2004) Thankfully it's still better than the first two, as Newell's touch gives a more ominous tone throughout the picture. Its PG-13 rating is well deserved as there are many moments that are more suitable for horror films than something that was previously given to a Home Alone director. 

The new actors; Ralph Fiennes as Voldemort & Brendon Gleeson as 'Mad Eye' Moodey give the picture a more sinister touch that spells real danger for our heroic main character. Voldemort in particular gives a menacing tone to the series that predicts gloom for the rest of the series. The three main actors; Radcliffe, Watson and Grint have now grown into their roles and can sufficiently act in the more dramatic moments that these films now demand. 

A Raisin in the Sun (1961) Review

Title: A Raisin in the Sun
Year: 1961
Director: Daniel Petrie
Country: US
Language: English

When it first opened on Broadway in 1959, A Raisin in the Sun was the first play to open on the Great White Way written by a black woman. It was also the first directed by an African-American. The show was such a success that Hollywood demanded a film version be made just a mere two years later. Sidney Poitier, Claudia McNeil and Ruby Dee made the transition to film from the stage version along with most other cast members.

In this, a substantial insurance payment could mean either financial salvation or personal ruin for a poor black family.

The issues tackled by the film are worthwhile and never less than engaging, revealing the spectrum of social pressures faced by a working class black family not far removed from an oppressive past. There is a generation rift between Lena and Beneatha, with the latter veering into social and cultural interests deemed unthinkable by her traditional mother. Almost every scene and every exchange quickly escalates to a heated dispute about race, ambition, God, heritage or money.

Patriarch of the family Walter Lee (Sidney Poitier) is a powder keg ready to explode. He's sick of being exploited by the white man, tired of being treated as an inferior and wants much more in his life. The claustrophobia of the apartment, the only set this film has,  is closing in on Walter Lee and mocking his life, which he views as a predetermined prison.

Reprising their roles from the stage, much of the acting is loud and over-the-top. The screenplay is littered with profound emotional moments that create keynote statements. Some feel that this is too much emotion; I feel that its just about right. The film may be extremely passionate, but it gives a great glimpse into the desperate minds of our characters. Overall its quite the ambitious picture that translates very well the Cinema. 

Ant-Man and the Wasp (2018) Review

Title: Ant-Man and the Wasp

Year: 2018

Director: Peyton Reed

Country: US

Language: English

Aside from Deadpool, Ant-Man might be the most self-aware superhero of the 20+ picture franchise that is the Marvel Cinematic Universe. Even though this Universe has literal Gods in Thor & Loki and Mad Titans like Thanos, Paul Rudd's title character comes from the world of down-to-earth buddy comedies. He is aware of how strange everything is and often quips about how outlandish his situation has become. 

As Scott Lang (Paul Rudd) balances being both a Super Hero and a father, Hope van Dyne (Evangeline Lily) and Dr. Hank Pym (Michael Douglas) present an urgent new mission that finds the Ant-Man fighting alongside The Wasp to uncover secrets from their past.

Compared to the other heroes of the MCU, Ant-Man has more "typical" problems. He is an ex-con trying to reform and be a good father. With just a few days left of his two-year house arrest sentence, he is recruited to help Hank find his wife in the quantum realm. Unfortunately the Government, sleazy businessmen and a tortured soul called Ghost also wants access to the quantum realm, so it's a bit of a scuffle trying to carry out their original wife-saving mission. 

The sequel gives less importance in using the size-change gimmick to create memorable jokes or action set pieces. Whereas the first Ant-Man has fights take place inside briefcases or on a miniature train set, this has mainly an uninspired large car chase. Granted, it is fun to see the giant Hello Kitty Pez dispenser being thrown at the baddies.  Ultimately Director Peyton Reed choose to focus on relationship/character aspects rather than the gimmick which will either please or displease audiences depending on why they came to see Ant-Man and the Wasp. 

Compared to Avengers: Infinity War this picture is a light side romp that succeeds in humour and pleasantness, but fails in (perhaps pun-intended) size and scope. It's a worthwhile viewing even if all Ant-Man and the Wasp was meant to be is light entertainment. 

Ant-Man (2015) Review

Title: Ant-Man
Year: 2015
Director: Peyton Reed
Country: US
Language: English

The character Ant-Man could have only been inspired by the Atomic Age of horror movies when nuclear explosions changed size perspective in films like Godzilla (1954), The Incredible Shrinking Man (1957) and most notable Them! (1954). First appearing in Marvel Comics’ Tales to Astonish in 1962, Ant-Man has fallen into relative obscurity over the years, but thanks to the recent MCU craze has become incredibly popular again. 

Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang (Paul Rudd) must embrace his inner hero and help his mentor, Dr. Hank Pym (Michael Douglas), plan and pull off a heist that will save the world.

Originally developed into a screenplay by beloved comedy director Edgar Wright (Baby Driver), he eventually managed to convince Marvel execs that Ant-Man would be a worthwhile cinematic endeavor. Unfortunately Wright would leave the picture citing creative differences; they would replace him with Peyton Reed (Bring it On) and re-write the script with Will Farrell collaborator Adam McKay. 

Many fans were worried Marvel exec's creative decisions would harm the picture, but thankfully it's a pretty decent affair that proved more entertaining than most of Marvel's pre-2015 pictures. The screenplay is funny, imaginative, witty and has drama in all the right places. Ant-Man's shrinking & enlarging gimmick translates well to the big screen; Marvel's CGI wizards create inspired scenes which involve a giant toy train and a near zero gravity slow-motion action scene. 

Ant-Man is a fun little picture that, while not greatly important to the overall MCU story arc, is a nice side venture. While it has some romance, the main selling point revolves around the irony of the hero’s size in relation to his large environment. Paul Rudd was a good choice for the title character; his charisma makes it fairly easy to identify with the superhero.