A soggy, slushy mess.
The dissection of a real life legal case from every possible point of view may be the main subject from Barbet Schroeder's "Reversal of Fortune" but the heart of the film unquestionably resides in one of the most amazing acting performances in the history of cinema: Jeremy Iron's portrayal of Claus Von Bulow
The real Von Bulow was indeed convicted to a thirty year term for the murder of his socialite wife Sunny, played by Glenn Close, but the movie, without taking sides, does make it clear that his sentencing was somehow influenced by the court of public opinion in which everybody believed Claus was guilty, he had to be, he certainly seemed like a man guilty of something.
"Film is the medium that gives room to our fantasies, most of the time harmless, since they are fantasies. The cinema is often more beautiful than life, if only because we write the screenplay." - Leconte
The Hairdresser's husband (1990) is a film so fantastical, so sensual, so romantic, that you can not help but sigh in ached longing...a longing that, deep down, you know is untouchable, but how good it is to be drenched so thoroughly in it in a French hairdressing salon, on sunny afternoons and stormy nights?
Dreamers. Lovers. However they came to be we do not know, and it does not matter. They are so content together, indeed so happy that they seem immune to the ravishing of life's toil. Passion consumes their lives. The day begins with it, and ends with it.
It's quite easy for someone to enjoy film. Loving film is completely different. For those who see films enjoy them, yet only those who can read film truly love it and understand it as an art form.
Hitchcock is probably the most well known director of all time. There is no absolute answer to what his crowning achievement is. A lot of critics prefer "Vertigo." Taste varies from one film lover to the other. "North by Northwest", "Notorious", "Vertigo", "Rear Window", "The Birds", "Shadow of a Doubt", "Strangers on a Train", "Rebecca", "Suspicion", "The 39 Steps" and "Psycho" are among his most loved.
The truth is there is no such thing as one ultimate Hitchcock masterpiece, there are only favorites.
A documentary called "The People vs. George Lucas" gives disgruntled, hard-core, "Star Wars" a chance to vent on the decisions George Lucas has made over the last several years, regarding the alterations to his beloved original trilogy as well as the overall outcome of that series' prequels. It may be safe to say that these fans' gargantuan expectations were not fully met.
I have to wonder if such expectations were realistic to begin with, I also ask myself if it was the world we live in today that drastically changed the rules of the game for the release of the maligned prequels. Let's face it, the insufferable Ewoks never had to face the same fate that Jar Jar Binks did when days after the release of the first prequel, a web site called www.jarjarbinkssucks.com became the talk of the web in its early days.
Long before Luis Bunuel's "The Discreet Charm of the Bourgeoisie" there was Jean Renoir's "The Rules of the Game," a 1939 classic tragicomedy about French upper crust society and its lack of morals. Billed as a "dramatic fantasy," Renoir's sharp-eyed satire was far ahead of its time, and took no prisoners, throwing both caution and political correctness to the wind.
Though filmed in beautiful, timeless black and white, "The Rules of the Game"(La Regle Du Jeu) is arguably the most colorful film ever made. It bursts with energy and life. The film is a multifaceted look at the emotional boundaries and battlefields of love and forbidden passions between men and women. The sexes openly hunt each other like prey, discussing their strategies, targets, regrets and longings with each other and amongst themselves. Mr. Renoir crafts a riveting anthropology of these vacant and trifling human creatures. Each is tinged with irony. Few have time for self-awareness or reflection.
The prospect of filming "Waiting for Godot" has always fascinated me. Can film do it any justice? Better yet, will it even translate well on film? I believe it could work. However, it depends on who adapts the screen adaptation. I'm not talking about a re-imagining but a direct adaptation. I cannot see anything being changed in "Waiting for Godot" because if anything is changed it will not be Samuel Beckett's "Waiting for Godot" but [Director's Name]'s "Waiting for Godot."
Still, if nothing is changed, it still doesn't mean it will work as a motion picture. Some of the greatest works of literature have been adapted to the silver screen with a faithful structure and direct character quotations, only to fail miserably. Take Henry James' "The Europeans" for example. The novel is a perfectly enriched with interesting characters trying to adapt in a sudden clash of cultures.
I truly enjoy Mel Gibson's work as a director. His films, whether he stars in them or not, always reflect a passion and heart like few others. His best work these days, more and more, seems to be coming from behind the camera. It seems to me he really makes the movies for himself first and second for everybody else, no test audience previews to influence the final product.
"Apocalypto" is a film about the demise of the Mayan civilization. It tells the story of Jaguar Paw, whose small village is attacked by a group of hunters from the nearby metropolis, their job literally being to pillage small defenseless groups while looking for "volunteers" for their "most dangerous game": the sacrificing rituals that the city's leaders use to keep the masses entertained.
I've always thought Tony Stark looked a bit like a porn star. It wasn't just the pencil moustache, though that certainly helped. It was his aura, his veneer of venal virtue, his lascivious lothario lifestyle. Plus he was a right-wing arms merchant with a dodgy heart and a drinking problem, who spent half his time in a robot suit serving shoe-pie to people in full anonymity. Even in the Marvel Universe, where other superheroes were only occasionally allowed to venture into shades of grey, Tony Stark stood out as a genuinely troubled character.
There must be many ardent admirers who know far more than me about Fritz Lang's "Metropolis"(1927), one of the great movies in the 20th Century. They will provide you more detailed and accurate knowledges about this unforgettable masterpiece after watching, no, experiencing it. So, I think I have to talk about my experience during the evening of May 4th and my several thoughts, instead of making a fool of myself by talking about what I do not know well.
Something strange happened to me while watching the recent Benicio del Toro movie "The Wolfman." I suddenly realized I wasn't being scared in the very least. Nada. Like Dr. Chilton once said referring to Hannibal Lecter in "Silence of the Lambs" "my pulse never got above 80".
Despite the movie's constant and frantic attempts to scare the audience with surprising and loud growls, with beheadings and half-eaten corpses, nothing worked, I've a hard time understanding why.
Is it my attitude towards the genre?