The Man with the Golden Gun (1974) Review

Title: The Man with the Golden Gun
Year: 1974
Director: Guy Hamilton
Country: UK
Language: English

The 9th film in the James Bond Franchise, and the fourth and final 007 film to be directed by Guy Hamilton, The Man With the Golden Gun (1974) brings the ever charismatic Roger Moore back in a role that received mixed reviews at the time. Indeed, the film is one of the lowest grossing features in the franchise and represented a low point in the series. Christopher Lee's menacing portrayal of the villain Sacarmanga was the only part of the picture that critics universally praised. 

James Bond (Roger Moore) is targeted by the world's most expensive assassin (Christopher Lee) , while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.

Similar to how Live and Let Die (1973) dabbled with the Blaxploitation genre, Man with the Golden Gun (1974) has a vested interest in the martial arts craze that was sweeping the world at the time. Hong Kong films - most notably those of Bruce Lee (Enter the Dragon) - were huge commercial hits overseas. In order to capitalize on the success of this genre, Bond's villain would have to hail from the orient. 

Man with the Golden Gun also touches on a big political issue in the West; the energy crisis of the 1970's. Essentially there was a conflict between Arab Countries and Israel known as the Yom Kippur War. To punish countries who supported Israel, the Organization of Arab Petroleum Exporting Countries implemented a total embargo of oil. This caused an immediate recession & crippled many countries' economies. The main McGuffin in this film is important because it is supposed to solve this crisis. 

My biggest issue with this film is that I don't think Roger Moore is fully comfortable in his Bond role yet. His approach, especially his aggression towards women,  comes off as too much like he's trying to imitate Sean Connery. Moore would get better and make this Bond unique in future films. 

I enjoyed The Man With the Golden Gun because it's fun, absurd and bombastic. We see Bond get into a fight with sumo wrestlers & chase a wine bottle throwing midget on a boat. Scaramanga is a remarkable, iconic Bond villain. The Bond girl, Goodnight(Britt Ekland), is breathtaking. I also love the cinematography of the beautiful on-set locations. 

Live and Let Die (1973) Review

Title: Live and Let Die
Year: 1973
Director: Guy Hamilton
Country: UK
Language: English

In the early 1970's, the movie industry underwent a boom of films featuring African American leads and stories about their experiences. Starting with Shaft (1971), the era catapulted the careers of newfound stars like Pam Grier, Richard Pryor and Morgan Freeman. Live and Let Die (1973) would maintain the relevancy of the Bond franchise by participating in this change in cinema culture. 

James Bond (Roger Moore) is sent to stop a diabolically brilliant heroin magnate (Yaphet Kotto) armed with a complex organisation and a reliable psychic tarot card reader named Solitaire (Jane Seymour).

Around this time in history, the media popularized the  infamous term "the war on drugs". This was based on American president Richard Nixon's public statement about how drug abuse was "public enemy number one." The main villain's scheme revolving around heroin addiction was essential in bringing the Bond franchise into the 1970's. 

Live and Let Die (1973) is the first Bond film for Roger Moore. The producers initially wanted Burt Reynolds, but he refused, saying that Bond should be played by an English actor. Moore was a great casting decision. I've stated before that he is my favourite Bond. Speaking of casting; Geoffrey Holder steals the show as the evil Baron Samedi. He is full of charisma and has a personality that leaps off the screen. This is easily my favourite henchman of the series. 

Live and Let Die is an incredible entry into the 007 franchise that oughted to be viewed with the same admiration as Goldfinger. There is so much from this film that is imitated and satired; modern films owe a lot to this Moore flick. 

Moonraker (1979) is the Best 007 Film

Title: Moonraker
Year: 1979
Director: Lewis Gilbert
Country: UK
Language: English

First, I must admit that I have not seen every movie in the James Bond Franchise, so my perspective is a little bit limited. I have seen Dr.No (1962), From Russia with Love (1963), Goldfinger (1964), The Man With the Golden Gun (1974),  License to Kill (1989), Goldeneye (1995),  Tomorrow Never Dies (1997), The World is Not Enough (1999), Die Another Day (2002), Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012) and No Time to Die (2021). 

Dr. Lisa Funnell (author of For His Eyes Only) and Dr. Michael W. Boyce (Geek 4 Podcast) offer a far more comprehensive academic understanding of the James Bond franchise. Seek their work out when you have the time. 

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Plot Synopsis: 

In Moonraker (1979), James Bond (Roger Moore) investigates the mid-air theft of a space shuttle, and discovers a plot to commit global genocide.

Context: 

In the late 70's conservative leaders like Margaret Thatcher and Ronald Reagan rose to power. The West was undergoing a resurgence of conservatism after a liberal 60's & early 70's. Nationalism was on the rise as leaders promised to make their countries great again by promising to return to values of the past. Sound familiar? 

In Britain the "Winter of Discontent", a series of labour strikes, brought Britain's economy to a halt. The turmoil evoked Parliament to strike a "no confidence" vote on the present government, which meant an election was to be held. Thatcher's party seized this opportunity and won on  the slogan "Labour isn't Working". 

In times of great despair, audiences seek movies that are escapist fantasy. In between For Your Eyes Only and Moonraker, Star Wars (1977) broke box office records and changed the film industry almost overnight. The latest Bond film would have no choice but to be escapist and incorporate science fiction elements, while also dishing out an anti-Thatcher message. 

Review: 

Often thought of as "James Bond... in Space!", Moonraker is the fourth 007 film to star Roger Moore. The general consensus is that Sean Connery's Bond is the best, but I think Moore is better in his role. I feel like Moore gives the character a little more class and sophistication. The way he observes his surroundings gives him more credibility as a spy. I feel he "earns" his seductive power over women better than Connery, who often "seduces" women by physical force. Connery's Bond ages worse over time, especially post #metoo movement. 

The Bond Girl in Moonraker, and I'm not kidding when I say her name, is Dr. Goodhead (Lois Chiles), A scientist/astronaut/cia agent; she is an intelligent woman who holds her own in a fight and is primarily the reason the villain's plans are foiled. She is treated as an equal to James Bond. If anything, Bond needs her help, which is quite a rare thing to see in the 007 franchise. 

The villain, Hugo Drax (Michael Lonsdale), is an Elon Musk type- character; he's a wealthy man that is obsessed with going to space. Why? Well he wants to create a super-race of humans on his orgy space station while poisoning every remaining human on earth. Then he will send the babies back to Earth and they will make the Earth perfect. It's a real "make Earth great again" idea that taps into a fascist eugenics mindset. This villain's goal is absolutely nuts, but it is in-line with neo-nazi ideology. As crazy as the plan is, these type of men exist. 

The henchman, Jaws (Richard Kiel), is one of the few Bond villains that has not died by the end of the film. His mindset is changed because he knows that he will not fit with Drax's ideology and that his fate will be sealed if he does not side with Bond. 

Despite Moonraker's legacy as being the "goofy" 007 film, I feel that it has a serious message, serious stakes and is very innovative when it comes to character development and plot. So many action films have been inspired by Moonraker, including Mission Impossible: Fallout. This film does everything right, and couldn't be any different considering the political context, so I think we should consider this the Best Bond. 

Dune: Part Two (2024) Review

Title: Dune Part Two
Year: 2024
Director: Dennis Villeneuve
Country: US
Language: English

When I viewed Dennis Villeneuve's Dune (2021) in theatres I found myself impressed by the epic scope of the visuals, but I also thought some scenes dragged, making the 2hr 35min run-time feel twice as long. For Dune: Part Two I was impressed by how smooth each scene flowed to the next. It is 10 minutes longer than Dune, but feels like a much more compact experience. 

Paul Atreides (Timothy Chalet) unites with Chani (Zendaya) and the Fremen while seeking revenge against the conspirators who destroyed his family.

Dune: Part Two is where this series stops feeling like a Star Wars retread and becomes a more complex socio-political commentary about political occupation, genocide, resource struggle, religion as control and the dual nature of power. Paul Atreides' mindset is more complex than "reluctant hero", as his actions feel like well thought out maneuvers to acquire power. 

Dune: Part Two has an epic scale look that others may try to imitate, but won't be able to replicate. Cinematographer Greig Fraser deserves another Oscar win for his ability to make this entry a visual feast; even during more intimate moments. Hans Zimmer's breathtaking score reverberates throughout your chest, adding to an awe-inspiring atmosphere.  

I look forward to watching the third entry to Villeneuve's Dune series. This second entry did a great job at keeping me engaged, and I feel it's the better film out of the two. I felt myself very immersed in this world; I found myself in deep thought about its themes. 

10 Best Films of 2023

10 Best Films of 2023

In 2023 we saw the power of the Barbie/Oppenheimer double feature, dubbed Barbenheimer. These two films were so different thematically that a social media phenomenon emerged, which enticed audiences to see both movies on the same day. We heard Barbie (Margot Robbie) asking "Do you ever think about death?" and on the same day see Oppenheimer (Cillian Murphy) claim "I am become death."

We saw Tom Cruise do an incredible over-the-top jump over a mountain for Mission: Dead Reckoning. We saw Godzilla become a creature of chaos & destruction in Godzilla: Minus One, which might not just be my favourite film of this year, but of the last 24 years. Flowers of the Killer Moon proved grandpa Scorsese still has the power to make captivating movies. 

This list is a celebration, and admiration, of the artists who made 2023 an incredible year for artistic expression. This year has been a testament to the fact that great movies are still being made. 

1. Godzilla: Minus One 

2. The Holdovers

3. The Zone of Interest

4. Killers of the Flower Moon

5. Anatomy of a Fall

6. May December

7. Oppenheimer

8. American Fiction

9. Bottoms

10. Mission Impossible: Dead Reckoning

Anatomy of a Fall (2023) Review

Title: Anatomy of a Fall 
Year: 2023
Director: Justine Triet
Country: France
Language(s): French, English

Justine Triet's Anatomy of a Fall won the Palm D'Or at the 2023 Cannes Film Festival. The 2022 winner, Triangle of Sadness, was my favourite film of that year, so I trusted Cannes to curate a film that would keep me engaged throughout the run-time. Triet's picture is fascinating; it's a film that subverts expectations regarding courtroom drams and feels more like Marriage Story than Basic Instinct. 

Sandra Voyter (Sandra Huller)  is suspected of murder after her husband's death, and their partially sighted son (Milo Graner) faces a moral dilemma as the main witness.

Hollywood has made us accustomed to suspenseful pictures trying to sweep the run under us with an over-the-top twist, but Anatomy of a Fall's screenplay is more complex & has more on its mind than boring tropes and clichés. This film is psychological and sociological deep dive into the anatomy of a marriage. It is also about gender roles, disability, ambition and depression. 

Sandra Huller's performance is remarkable, playing a complex character who you can simultaneously empathize with and doubt. The directing and cinematography are remarkable, each shot is delivered in an effective, deliberate way that adds to the suspense of the drama. 

Anatomy of a Fall is a very well made film about the nature of truth and the difficulty of finding justice. The film refuses to give decisive answers and examines how people justify their own narratives based on information they are given. It's a great movie that deserved its Palm D'Or. 

Ashes and Diamonds (1958) Review

Title: Ashes and Diamonds
Year: 1958
Director: Andzreg Wajda
Country: Poland
Language: Polish 

In the mid fifties a group of Polish filmmakers sought to depict their country onscreen, attempting to understand the political reforms caused by the outcome of World War Two. Andzrej Wajda's Ashes and Diamonds was considered the best of these pictures, but it was a tricky film to make. It had to depict the Polish resistance army, while also not upsetting the communist censors. 

As World War II and the German occupation ends, the Polish resistance and the Soviet forces turn on each other in an attempt to take over leadership in Communist Poland.

In Ashes and Diamonds, Poland is in near ruin. Buildings are in such shambles that even light rain causes indoor flooding. Our main character, Maciek (Zbigniew Cybulski), looks disheveled, mimicking the environment around him. The communist Hotel Monopol, where leaders are celebrating the war's end, is bathed in glamour. It suggests that in the upcoming years there will be an even bigger power imbalance between the working and ruling class. 

Maciek looks, and behaves like, an outsider in this post-war Poland. This is a country that has become quite different from what he had been accustomed to. The cinematography and set design make this setting feel uncomfortable and alienating. We are immersed a somewhat surreal, nightmarish atmosphere that invites questions about Poland's position on the world stage. 

Ashes and Diamonds is a very cynical film that is hard to engage with in present day. Its an important time capsule, a window into what life looked like in Poland at the time, but I wonder if the Poles would admire it in contemporary times. It is a very well-made film, just not one that I'd rewatch. 

Le Corbeau (1943) Review

Title: Le Corbeau
Year: 1943
Director: Henri Georges Clouzot
Country: France
Language: French

The French "Master of Suspense", Henri Georges Clouzot, caused controversy in Vichy France when his film Le Corbeau hit theatres. It proved to be a popular commercial success, but the occupied government was infuriated with the onscreen parable about a society torn apart by mistrust and informants. The authorities decided to blacklist Clouzot. 

A French village doctor (Pierre Fresnay) becomes the target of poison-pen letters sent to village leaders, accusing him of affairs and practicing abortion.

Le Corbeau is a relevant film, even decades later. It warns us about the dangers of bureaucracy and authoritarianism. It tells us about how mistrust can harm a society. We can see this in present day with our political divisions, and how create an "other" sides that don't align with our views. 

Clouzot's picture hits us hard with the cynical truth, much like how the best of George Orwell's works do. Nowadays the "town with many secrets" idea is a trope, and much of this film has dated narrative ideas that feel cliche in contemporary times,  but its themes are popular in fiction and that make it more accessible than other art from that era. 

I enjoyed Clouzot's other works, Wages of Fear & Diaboliques, much more than Le Corbeau, but I must acknowledge that his film does have important themes and is an intriguing window into life during the Vichy government. 

American Fiction (2023) Review

Title: American Fiction
Year: 2023
Director: Cord Jefferson
Country: US
Language: English

I was surprised when I heard that American Fiction (2023) had won the People's Choice Award at Toronto International Film Festival. I was considering going to the festival & I didn't think the film stood out to me when it was announced. After viewing it for the first time, I must admit that I am impressed. 

A novelist (Jeffrey Wright) who's fed up with the establishment profiting from Black entertainment uses a pen name to write a book that propels him into the heart of the hypocrisy and madness he claims to disdain.

American Fiction is a smart satire that dissects racial stereotypes while taking storytelling risks. It mocks the system around Black art and dives into the shady ways its advertised, consumed and created. It asks if we actually want authentic black stories or if we want to keep seeing media like Boyz in the Hood.

The picture is also an excellent family drama. This part helps mold our main character & give us a more well rounded artist who we can empathize with.  Jeffery Wright, as well as the other actors involved, help give life to a charming, witty and fun script. 

American Fiction made me laugh plenty of times. It is incredibly effective as a comedy, and the heartfelt moments also hit hard. It's a worthwhile viewing that deserves the Oscar buzz that it's getting. 

The Zone of Interest (2023) Review

Title: The Zone of Interest
Year: 2023
Director: Jonathon Glazer
Country: Germany
Language: German

Jonathon Glazer's newest feature film, The Zone of Interest, is a confronting dissection of evil; a deconstruction of what participation in evil looks like. It's quite different from most pictures on this subject matter, because it doesn't allow its audience to distance themselves from the characters. 

Auschwitz commandant Rudolf Höss (Christian Friedel) and his wife Hedwig (Sandra Huller) strive to build a dream life for their family in a house and garden beside the camp.

Many reviewers like talk about "the banality of evil", but The Zone of Interest is more about the sin of comfort. This is the main motivation of Rudolf Hoss and his wife. Their families' comfort drowns out the screams of those beyond their wall, just like our comfort drowns out those in Ukraine and Palestine. Our phones act as a barrier, removing ourselves from a harsh reality. 

The Zone of Interest doesn't fetishize the time period the film takes place in. It's crisp, clean and digital; it looks like the events took place in present time. This is intentional, as it removes the feeling of "well this happened a long time ago."  The sound design also makes a statement as it presents atrocity as ambience, We, like Rudolph and Hedwig, often hear violence but choose to ignore it as part of the background. 

The Zone of Interest is a very smart film that utilizes its cinematography, sound design and editing in very innovative ways that add to the overall narrative. I was very impressed by this unsettling film. 

That Thing You Do! (1996) Review

Title: That Thing You Do!
Year: 1996
Director: Tom Hanks
Country: US
Language: English

There are many films that depict the rise-and-fall of fictional bands (see: Almost Famous) and the majority of them have a cliche, predictable and by-the-numbers narratives. That Thing You Do! doesn't reveal anything narrative in its story or direction, but Tom Hanks' directorial debut is charming in its own way.

In this film, a local Pennsylvania band scores a one-hit wonder in 1964 and rides the star-making machinery as long as they can, with lots of help from their manager (Tom Hanks). 

That Thing You Do! is full of youthful energy. Its colors are vibrant and the music is reminiscent of the "Flower Power" Beatles era. The actors play their roles with great exuberance; my favorite scene has the band members running down the street, overwhelmed with joy, as they hear their song on the radio for the first time. 

Nearly 30 years later, That Thing You Do! serves as great nostalgia - for the nineties. The aesthetic tries to be sixties, but the film looks like other teen/young adult pictures of the nineties. The pastel colors and general energy of the characters feels familiar and brings me back to my childhood. 

This affectionate exploration of growing pains has a resonating emotional maturity that will hit at every range of emotion. Hanks has directed a very underrated 90's gem that ought to charm generations to come. 

Alexander Nevsky (1938) Review

Title: Alexander Nevsky
Year: 1938
Director: Sergei Eisenstein
Country: USSR
Language: Russian

When it came to write the screenplay for Alexander Nevsky Sergei Eisenstein  was not in the good graces of USSR film studio Mosfilm. His previous picture, Bezhin Meadow, was shutdown for not being politically satisfactory. For Nevsky, the studio made Eisenstein collaborate with a member of the secret police who sat in on NKVD interrogations. He was certainly a writing partner you wouldn't want to get on the wrong side of. 

This is the story of how a great Russian prince (Nikolay Cherkasov) led a ragtag army to battle an invading force of Teutonic Knights.

Alexander Nevsky is an epic fable; large in scope and sweeping in its cinematography. Each shot is beautiful, flowing together like stanzas in a great poem. Eisenstein makes great use of epic set design, awe inspiring costuming and a booming score to enhance his flair for monumental visuals. 

The story is simplistic and character arcs are non-existent, but the focus of Nevsky is shooting impressive battles that involve hundreds of extras. It's pure Propaganda, but it was needed at the time. 1938 was a difficult year for the Russians and soon the Nazi war machine would be on their doorstep. Audiences needed Alexander Nevsky. 

The film feels a bit dated, and loses a lot of its power if viewed without an understanding of the context. Alexander Nevsky is innovative and impressive, but its more style than substance. I still would recommend it. 

Ivan the Terrible Part 1 & 2 (1944) Review

Title: Ivan the Terrible I & II
Year: 1944
Director: Sergei Eisenstein 
Country: USSR
Language: Russian

Ivan the Terrible was a personal hero of USSR premier Joseph Stalin. He commissioned Sergei Eisenstein to make a film of the Sixteenth Century Grand Prince of Moscow. This production would be filmed during World War Two at the Alma Ata studios in Kazakhstan. Part I was met with great acclaim, but Stalin detested Part II & it was surprised until the dictator's death. 

Part 1: 
During the early part of his reign, Ivan the Terrible (Nikolay Chersov)  faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people.

Part II:
As Ivan the Terrible attempts to consolidate his power by establishing a personal army, his political rivals, the Russian boyars, plot to assassinate their Tsar.

Both films are epic in scale and remarkable in visuals. Eisenstein has a keen eye for close-ups, making his film resemble Carl Th. Dreyer's Passion of Joan of Arc. Ivan the Terrible is shot as a towering, powerful figure whereas his opponents are a managerie of eerie, judging faces. 

The architecture does a tremendous job at demonstrating how cold and calculated the antagonists, the boyars, are. Angled exaggerated walls, vaulted ceilings and pointed arches add to the films' drama & heightened sense of dread. 

The set design by Iosif Shipnel deserves a great amount of praise, as does the costume design, highly theatrical lighting and brilliant score. The visual vocabulary of Ivan The Terrible draws upon religious iconography, classical art, and psychoanalysis. The use of visual symbolism is remarkable - almost every modern filmmaker owes a debt to Eisenstein for inventing new cinematic languages. 

The writing is overshadowed by the imagery, but it's still quite impressive. The film's narrative is nail-biting, almost Shakespearean in the way it depicts the turmoil between Ivan and the Boyars. The characters are heavily rooted in the film's aesthetic. The costuming, lighting, theatrical makeup all are more important than the dialogue. 

I found myself incredibly impressed by these films. Style and substance mix for a masterwork of World Cinema. Eisenstein is one of the greatest filmmakers of all time and Ivan the Terrible is proof of this. 

The Iron Claw (2023) Review

Title: The Iron Claw
Year: 2023
Director: Sean Durkin
Country: US
Language: English

I have been a fan of wrestling since the "Attitude Era" of the late 90's, when "Stone Cold" Steve Austin & The Rock were main evening Pay Per Views. Throughout my decades of fandom, I've dived through wrestling history. One wrestler that had intrigued me was Kevin Von Erich, due to the so-called "Von Erich Curse".  It's a remarkable story that surprisingly was made into a full-length motion picture. 

The Iron Claw is true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s.

Director Sean Durkin crafts a film that explores one man's toxic obsession with the American Dream, and how his domineering mindset destroys his family. Fritz Von Erich (Holt McCallany) refuses to see the humanity in his sons David, Mike, Kevin and Kerry. Instead he sees them of reflections of himself, and of his desire to be the strongest, fastest and toughest. 

Unfilled expectations in a "father knows best" atmosphere lead to great tragedy. Durkin's writing highlights an aching family trauma brought on by single-minded ambition. The cinematography does a great job at highlighting the claustrophobia of the Von Eric's situation. The wrestling choreography is well done. The acting is outstanding. Zac Efron is completely transformed; donning the figure of a Greek God. Efron went above and beyond with his character.

The Iron Claw often sacrifices character development in favor of covering historical ground. We spend most of our time on the surviving brother, Kevin Von Erich, but we hardly get to know the rest. Chris Von Erich is missing completely. The Hollywood-ized ending is a bit off putting considering the tone throughout the majority of the picture. It's a decent film, but The Oscars were right to snub it. 

The Before Trilogy (1995-2013) Review

Title: The Before Trilogy
Year(s): 1995 - 2013
Director: Richard Linklater
Country: US
Language: English

When Before Midnight (2013) was released I was a year younger than Celine (Julie Delpy) and Jesse (Ethan Hawke) were in Before Sunrise (1995). I didn't watch Before Midnight in theatres, because I had made it a goal to see the other two films first for context. For various reasons I kept putting off viewing the trilogy - until a decade later. Now I am the age Celine & Jesse were in Before Sunset (2004), and I feel like I have the maturity to appreciate Linklater's masterful works. 

In Before Sunrise (1995), Celine (Julie Delpy) & Jesse (Ethan Hawke) meet on a train and spend one evening together in Vienna. 

In Before Sunset (2004), Celine & Jesse meet again on the French leg of Jesse's Book Tour. 

In Before Midnight (2013), we meet Celine & Jesse nine years later in Greece. Two decades have passed since their initial meeting on a train. 

Each film in The Before Trilogy is a view into various stages of life; focusing on the opportunities and tribulations of adulthood through the decades. Linklater provides a unique, sweeping experience that gives us the full scope of adult romance; contrasting fantasies with the realities of falling in love. 

The script in each installment of The Before Trilogy is remarkable. The dialogue is heavy with introspective substance, as our characters contemplate time, mortality, dreams, and politics. The conversations are so intriguing that you won't want Jesse & Celine to stop talking. Yet even when they don't speak to each other we get heart stopping scenes such as when they are in a record store booth in Before Sunrise. 

Sharp, biting, intelligent, funny and filled to the brim with subtext, The Before Trilogy consists of three masterpieces that feel honest and real. I do think Before Sunrise & Before Sunset are the stronger films, but it's still a great trilogy overall. Before Midnight keeps the story from being too Hollywood-ized. 

Before Sunrise: 5 out of 5
Before Sunset: 4 out of 5
Before Midnight: 4 out of 5

The Red Shoes (1948) Review

Title: The Red Shoes
Year: 1948
Director: Powell & Pressburger
Country: UK
Language: English

Amid the post-war gloom in the UK, Powell & Pressburger dared to make a film about passion; the intense passion an artist dedicates to their craft. The Financial Backers of The Red Shoes thought P&P were indulgent, as they had gone over-budget, & that this picture would be a financial flop. At the time they were correct about the financial loss, but long-term it proved to be a huge hit that changed the course of cinema. 

A young ballet dancer (Moira Shearer) is torn between the man she loves and her pursuit to become a prima ballerina.

In his 1986 memoir A Life in Movies, Michael Powell said: "We had all been told for ten years to go out and die for freedom and democracy . . . , and now the war was over, The Red Shoes told us to go out and die for art." P&P's musical is an influential technicolor spectacular that dissects artistic expression and takes us to places that no other "backstage musical" has, before or since. 

Composed for the film by Brian Easdale, the score is remarkable as it pulls us into the melodrama and melancholy of this picture. The set designer, Hein Heckroth, designed beautiful sets that will take your breath away. The ballets shows are wonderfully staged and shot with mesmerizing cinematography. 

The Red Shoes is an incredible film that deserves the praise it gets from filmmakers like Martin Scorsese. Modern musicals owe a great debt to this truly brilliant Powell & Pressburger work. It is absolutely a must see. 

Red River (1948) Review

Title: Red River
Year: 1948
Director: Howard Hawks
Country: US
Language: English

In his day, Howard Hawks' directorial talent was taken for granted. It wasn't until the 1950's, when Cahiers du cinema critics championed his style, was his filmography during the Golden Age of Hollywood looked upon as a series of masterpieces. Hawks was a versatile director who could do everything from Gangster (Scarface) to Screwball Comedy (Bringing Up Baby) to Western (Red River). 

Dunson (John Wayne) leads a cattle drive, the culmination of over 14 years of work, to its destination in Missouri. But his tyrannical behavior along the way causes a mutiny, led by his adopted son (Montgomery Clift).

Red River is a Western that feels like an ancient epic. It's extraordinary in scope, and it feels like one of those films you can look at & proudly say "they don't make em' like they used to." Hawks' vivid adventure is as focused on spectacle as it is with human relationships. 

The cinematography, score and costuming add to the action-packed atmosphere. The story is fairly simple and direct, but the complex characters and their interactions will have you glued to the screen. We like to attribute Westerns as a masculine genre, but Red River dissects toxic masculinity and encourages us to have more empathy. 

Red River did have some faults. I found the ending to be a bit anti-climatic & at times the pacing felt like to slowed to a crawl. The hetero romance wasn't well established. Overall I thought it was an ambitious picture that was incredibly well-made. 

Brigadoon (1954) Review

Title: Brigadoon
Year: 1954
Director: Vincente Minnelli 
Country: US
Language: English

I recently watched Brigadoon (1954) on the Criterion Channel under the Classic MGM Musicals Collection. I've loved Gene Kelly ever since I first saw him in Singin in the Rain (1952) and I was ecstatic that I could watch more of his work. Vincente Minnelli is one of my favourite directors as well; I love Meet Me in St. Louis (1944). 

Two Americans (Gene Kelly & Van Johnson) on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.

Brigadoon is a musical/fantasy that feels - and looks like- a fairytale come to life. It's sweeping in its romance & epic in terms of music. The score is lively; bouncing with feverish energy. The set design is remarkable, as Minelli gives us an 18th Century Scotland that is teeming with life. 

This colourful, vibrant picture made full use of the Cinemascope lens, filling the frame with Gene Kelly's memorable choreography. The other performances are fair, but aren't in the same league as the star of the show. Written for the screen by Allen Lerner, Brigadoon doesn't always maintain its rapid pace, but the overall picture does prevail in entertainment. 

While it isn't An American in Paris (1951), Brigadoon still gives modern audiences a slice of nostalgia for the Golden Age of Hollywood. Musicals this spectacular don't come around very often, so I'm glad I was able to see one of the greats. 

Cleo From 5 to 7 (1962) Review

Title: Cleo from 5 to 7
Year: 1962
Director: Agnes Varda
Country: France
Language: French

With Cleo From 5 to 7, Agnes Varda gives us a unique feminine perspective of day-to- day anxiety. This version of anxiety should not do well in Cinema, because it isn't the slow "descent to madness" that we typically see onscreen. Rather, it is about the angst of health, identity and our main characters' place in the world. 

Cleo (Corrine Marchand), a singer and hypochondriac, becomes increasingly worried that she might have cancer while awaiting test results from her doctor.

Told in real-time, the grandmother of the French New Wave Agnes Varda wonderfully constructs a journey of self-discovery set in an elegant Paris backdrop. Her mobile camera, in addition to sporadic jump cuts, create a timeless film that encourages us to find the beauty in our everyday lives. 

Evoking ideas of literary modernism, Cleo From 5 to 7 focuses on the existential human condition and dissects what it means to be human in the Western World. It's funny, dramatic and incredibly heartfelt. Varda's film is effective in demonstrating how an individual can surpass their looking glass self. 

This was a beautiful eye-opening picture that made me reflect upon my own life. Perhaps, like Cleo, I need to do some self-reflection and come at life from a different perspective. I will certainly be revisiting this film for many years to come.
 

The Last Detail (1971) Review

Title: The Last Detail
Year: 1971
Director: Hal Ashby
Country: US
Language: English

The early 1970's were a fairly difficult time for Americans. The Vietnam War, Watergate scandal, and economic crisis had made Americans disillusioned with the Government, which created a more cynical culture. New Hollywood Cinema reflected this attitude with films like Easy Rider (1969), Five Easy Pieces (1970) and The Last Detail (1971) 

In this, two Navy men are ordered to bring a young offender to prison, but decide to show him one last good time along the way.

The Last Detail shows an America that is tied up in petty bureaucracy; institutions which emasculate men, and only exist to serve its own existence. Meadows (a very young Randy Quaid) is being transported to a prison, where he will serve an eight year sentence for stealing $40. Such unfairness is frustrating. The only reprieve we feel from this injustice is when our fellow men show compassion and empathy. 

The Last Detail is quite a touching film that reminds us to be more humane and kind to others. It's excellently photographed, has remarkable cinematography and is very well written. It's a sentimental good-natured picture that is well paced & quite funny at times. I particularly found the scene where Nicholson demands a beer to be hilarious. 

Hal Ashby was a wonderful hippie, peace loving director that doesn't get enough discussion in film communities. His style of film-making was innovative; you can see his influence in many popular movies including The Holdovers (2023). 

The Devils (1971) Review

Title: The Devils
Year: 1971
Director: Ken Russell
Country: UL
Language: English

I was hesitant to watch Ken Russell's The Devils (1971) because of the discourse related to the controversial film. I've heard that it is a violent "hard to watch" picture and I didn't want to subject myself to a gore-fest. Thankfully its not that violent - especially compared to today's horror standards. Surprisingly, I found The Devils quite fun. It is Black Narcissus (1947) on crack. 

In 17th-century France, Father Urbain Grandier's (Oliver Reed) protection of the city of Loudun from the corrupt Cardinal Richelieu (Christopher Logue)  is undermined by a sexually repressed nun's accusation of witchcraft.

The Devils is a mad film; it dissects the insanity brought about when the fear of God meets political hypocrisy. It is a film, burning with mad energy, that is permeated with carnal excess. Its themes are similar to Dryer's Passion of Joan of Arc (1929); but Russell's film has far more exorcism via enema and naked nuns so therefore Warner Bros. is hesitant to give it a home video release. 

The relentless atmosphere of anarchy is masterfully shot; giving us compelling & memorable cinematography. The score adds to the film's tension and gradual increase of madness. The set design and costuming are gorgeous. Russel does a tremendous job at immersing us into the 17th Century setting.

The Devils may become one of my favourite films. It is a unique unconventional masterpiece that, if anything, felt like it should have been longer. As brilliant as it is bizarre, this is a must-see. 

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