The fact that he doesn’t try to redeem these flawed, fascinating figures—or even try to make you like them in the slightest way—feels like an…
It's hard to come up with many directors willing to take the leaps of faith that Quentin Tarantino does in every scene of his every movie. It's even harder to come up with any who have the talent to back-up even trying. The biggest reason Tarantino has such a huge following may be how he goes all-out with seemingly little or no concern for crashing -- which, amazingly, he never seems to do.
Elia Kazan's "On the Waterfront" has been discussed endlessly by film fans, critics and film historians. It's easy to see why, for "On the Waterfront" can be studied from various perspectives. On the one hand the film reflects a time in history when some Americans named names before the House of Un-American Activities Committee much like Terry Malloy does in court. It has also been argued to be Kazan's answer to Arthur Miller's play "The Crucible" or his redemption and justification for falling victim of Joseph McCarthy's witch-hunt of the 1950's.
I'm not naive enough to believe that, at some point in history, the media political coverage (national or international) was in fact absolutely impartial. After all, controlling the typewriter and, later, computer keyboards were human beings with their own passions and ideologies - and it is clear that, even if they tried to be objective (those who tried, at least), they couldn't avoid filtering one fact or another by following their particular beliefs. Unfortunately, even though that occurs, I doubt that the level of indoctrination exhibited by professional journalism in History reached the alarming level of proselytism we have witnessed in recent years: while in United States 9/11 turned the media into a spokesperson of Bush's government, allowing him to lead the country to a war based on lies (something that many realized only a while ago), in Brazil large "journalistic" vehicles clearly embraced right-wing candidates during recent elections with no attempt whatsoever of masking their partisanship.
Sometimes people learn a hard life lesson about their world when they are young and innocent. Molly, a young white South African girl in "A World Apart" (1988), learns it in a way far more hurtful than usual. She wants her normal comfortable life to resume again, but her world is Johannesburg in the 1960s. She begins to grasp lots of injustices in her world, even while confused and hurt a lot by her parents as well as what happens to her and her family.
On a personal level, the most surprising aspect of Rashid Ghazi's new documentary, "Fordson: Faith, Fasting, Football," is that he managed to keep it a secret and even managed the time to make it. An old friend, he personally funded and directed this portrait of a week in the life of a tightly-knit Detroit community at the beginning of their 2009 school year. A husband, a father, and tireless executive, he kept quiet about the film, even keeping his name off the original publicity. Simply: he did not want to get attacked by rampaging anti-Muslim zealots who seek to fake scandal where there is none.
Even outside the U.S. it's common for movie-goers to avoid non-Hollywood films--not that subtitles are such a big deal to us, as we have no choice but to get accustomed to them since childhood. These feature's real problems are that they don't often receive much fanfare and their stars aren't always well known. We tend to stay away until we get one a "must see" recommendations and that was my case with the German film "The Lives of Others" (2006). It's a shame to think audiences will miss a story so gripping; this is one of the best films of its decade.
"'Will you walk into my parlor?' said the Spider to the Fly." - from the poem "The Spider and the Fly" by Mary Howitt.
The crucial moment in George Sluizer's chilling psychological thriller "The Vanishing"(1988) can be summarized with that quote. The Fly cannot resist the offer, simply because of his intense desire to know. The Spider cannot resist making an offer, only because of his cold curiosity about the result. He has a solid prediction based on his careful calculation, but he wants to know the result in his cruel experiment, like he previously tested himself before.
I've had to defend myself for loving "The War of the Roses" so much. The majority of people I've discussed it with found it too mean-spirited. I realize it deals with an ugly subject but this is a prime example of a movie being great at how it is about its core subject, no matter how touchy. This is one of my all-time favorite films.
Sometimes, I just want to stare at beautiful people, even if they spend most of the movie just staring at each other. I think it's in the eyes, especially when the eyes are smiling. Sometimes, I just want to sigh, watching them longing for each other. Ashutosh Gowariker's 2008 film, "Jodhaa Akbar" let me do so, for three hours.
This Indian film is an unabashed epic that targets that greatest of all Indian epics, K. Asif's 1960 film, "Mughal-e-Azam" ("The Greatest of Mughals"). It is a prequel of sorts: "Jodhaa Akbar" tells us the story of the Mughal Emperor Akbar and his wife Jodhaa; "Mughal-e-Azam" is about their son, Jehangir. Like any other man of withering virility and receded hairline, I like beautiful things and beautiful people, and "Jodhaa Akbar" is loaded with carved reddish palaces, golden decorations, and silk scarves of every color. And beautiful people.
When I went to the Jeonju International Film Festival in this April, I was reminded again that the old theaters at the downtown of my hometown are gone. Most of them are now replaced by a bunch of multiplexes, and I can't say the old theaters were better than their replacements. While there were the big theaters where I could enjoy movies like "Independence Day" or "Starship Troopers," I remember too well how shabby several theaters were in early 1990s, compared to the current standard; I am happy with the comfortable seats, nice bathrooms, and agreeable viewing condition in multiplex theaters.