The Big Sleep

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THE BIG SLEEP has a reputation for being a film that gets lost in its own complexity and which fails to clearly identify all the perpetrators of all the murders that litter its scenes. There is a certain truth to this: like the Raymond Chandler novel on which it is based, the plot is extremely complicated, and it requires the viewer to mentally track an unexpected number of characters--including two characters that never appear on screen, a pivotal character who doesn't actually have any lines, and a character who is frequently mentioned but doesn't appear until near the film's conclusion. There is not, however, as much truth to the accusation that the film never exposes all the killers: only one killer is not specifically identified, but even so his identity is very clearly implied.

All this having been said, THE BIG SLEEP is one helluva movie. In general, the story concerns the wealthy Sternwood family, which consists of an aging father and two "pretty and pretty wild" daughters--one of whom, Carmen, is being victimized by a blackmailer. P.I. Philip Marlowe is hired to get rid of the blackmailer, but an unexpected murder complicates matters... and touches off a series of killings by a number of parties who have covert interests in the Sternwood family. Perhaps the most amazing thing about the film is that you don't actually have to pick apart the complicated story in order to enjoy it. The script is famous for its witty lines and sleek sexual innuendo--much of it lifted directly from Chandler's novel--and the cast is a dream come true. Philip Marlowe would be played by a great many actors, but none of them ever bested Humphrey Bogart, who splendidly captures the feel of Chandler's original creation; with the role of Vivien Sternwood Lauren Bacall gives what might be the finest performance of her screen career; and the chemistry between the two is everything you've ever heard. The supporting cast is superlative, all the way from Martha Vickers' neurotic turn as Carmen Sternwood to Bob Steele's purring hitman Canino. There's simply not a false note to be found anywhere. Although the film really pre-dates the film noir movement the entire look of THE BIG SLEEP anticipates noir to a remarkable degree--it would be tremendously influential--and director Hawks gives everything a sharp edge from start to finish.

Two versions of THE BIG SLEEP are included on the DVD: the film as it was originally shot and the film as it was released to theatres in 1946. The actual differences between the two are fairly slight, but they prove significant. Although the original version is somewhat easier to follow in terms of story, it lacks the flash that makes the theatrical version such a memorable experience; it is easy to see why Hawks elected to rescript and reshoot several key scenes as well as add new ones, and both newcomers and old fans will have fun comparing the two. The DVD also includes an enjoyable documentary on the differences between the films and the motivations behind them. I don't usually comment on picture quality unless there is a glaring issue, but several reviewers have noted portions of this print have a flicker or seem a bit washed out. I noticed these problems, but I can't say that they in any way distracted from my enjoyment of the film, and they certainly don't prevent me from recommending it--be it on video or this DVD. And I recommend it very, very strongly indeed.

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Alien

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Amazon's reviewer calls this movie overrated and drawn out, while the Leonard Maltin movie guide review seems a bit baffled that some people like this kind of entertainment. Don't listen to either of them. Alien is, quite simply, one of the best movies ever made in both the sci-fi and horror genres. Those who complain that the film takes too long to get going suffer from some kind of cinematic attention span disorder; Ridley Scott draws his scenes out because he wants to build tension and establish a sense of realism before introducing H.R. Giger's terrifying creation. Unfortunately we can all see that the monster is just a guy in a suit during the closing sequences when Scott finally lets us see what the big slimy nemesis really looks like, but otherwise the film hasn't aged a bit since it came out two decades ago. The DVD is great too, with excellent picture quality and a really great commentary track, despite some disastrously inappropriate menu screens (the interfaces are all CG-rendered glitz, which really doesn't go with a movie known for its slow, elegant, quiet suspense). Anyone with any interest in horror or science fiction films in general should pick up this classic immediately.

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VeggieTales: Lord of the Beans

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Entertaining as usual with Veggie Tales with quite a few references to the actual Lord of the Rings. For people who have not seen the Lord of the Rings they'll miss some of the best parts, which is why we only gave it 4 out of 5 stars. I have already loaned it to two friends, a 24 year old LOTR fan and a high school freshman who was very excited to watch it. That being said, it does contain some adult humor but nothing inappropriate for children. Watch for the Keebler Elf and the sporks for extra laughs. And loved those hairdos also. A great movie!
LAS

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Pharaoh's Army

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"Pharaoh's Army" defies formula. Instead of selling out for cliches and big stars, it relies completely on the excellent acting from a strong cast, the strength of a well written script, and a fascinating and bitter story. The result is a raw and realistic film that moves along fast, with a heavy emotional current. One of the best I've ever seen about the Civil War, and I think it can owe that to the pleasure of being an independent film (if you like this film, try to see the brilliant indie Civil War film "Wicked Spring" as well).

"Pharaoh" simply tells the true story of a small expedition/forage team of Union men who ride into a Confederate farm to take provisions, but end up stuck there because of an accident of one of the men. Tensions broil and relationships are made and broken. Nothing happens the way Hollywood would write it; this movie comes from the mind of someone who actually cares about quality film and the telling of history. Superb dialogue and plot exposition move along a film that looks highly professional, but often doesn't feel like you're watching a movie, more along the lines of hearing a story.

The film boasts an incredible performance from Chris Cooper who shows an amazing versatility in the exploration of his role. He transforms, but is always at the height of believability and is easy to emotionally relate to. Patricia Clarkson is equally as stellar and realistic in a role that many actresses would crumble in. She shares an interesting chemistry with Cooper's character and where she's the more severe of the characters, is still as easy to identify with. The rest of the cast is quite capable, and fill their roles in well.

The art design and the set are wonderful, and personally I love the cinematography. It all has the feel of a Civil War period photograph with the camera presenting strong contrasting colors and shadows and a tin-like metalic tint, but always keeping the naturalistic look of the rustic setting. They seem to have used natural lighting, but whatever they used works beautifully. Everything looks like it belongs where it is, it feels period, something I find rare in American period films. The actors act 19th century, not like 20th century people in old clothes.

Above all, this film is very personal. I think that as an indie it can afford it. The film is nearly flawless with an outstanding script that effortlessly creates and explores the relationships and personalities of these characters and lets them grow in a situation, as bad as it is. It doesn't fail in getting it's point across, and it gets it's point across without the usual and overused techniques that are used in all war films these days. It's brave. It relies on it's characters, a fantastic script, human emotion, and in the cold hard fact that the Civil War wasn't all CGI, big stars, and hoop skirts.

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Role Models (Unrated)

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Role Models is not a particularly deep or innovative comedy, in fact it's plotline will be familiar to anyone who has ever watched a movie, period. But that doesn't mean that it doesn't provide lots of laughs and much needed escapism for it's 90 plus minutes.

Paul Rudd And Sean William Scott star as two slackers who find themselves sentenced to 30 days of community service following a work related blow up by Rudd's characther that comes on the heels of being dumped by his longtime girlfriend (Elizabeth Banks). The two are ordered to do their hours of community service at a Big Brothers and Sisters type of organization where each of them are paired up with a "troubled" kid.

Can you guess where this is going? The two men will learn to look past their own self indulgence and care for the kids. A valuable lesson is learned by all. This plot really doesn't matter. What does matter are the performances. Rudd and Scott are hilarious as the overgrown man-children and they share an effortless chemistry. Rudd especially is in top form, spewing sarcasm and self loathing with every line and garnering laughs from his facial expressions alone. Rudd is clearly in his element here.

When Rudd turns into an unselfish nice guy at the end, it's a bit of a stretch for the audience to accept that he made such a quick transition. Rudd's performance may be hilarious, but his character is not that well developed for his transformation to be believable. But hey, this ain't art. It's a largely entertaining buddy comedy with lots of smart and raunchy humor that should be viewed as exactly that.

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Time After Time

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It has been a while since I've reviewed something on my lifelong favorite's list. So I've chosen "Time After Time" because it isn't very well known by younger audiences nor is it necessarily considered a "classic."
However, I instantly fell in love with this movie over 25 years ago--and I still consider it a rip-roaring good time!

Starting out with the most bizarre plot ever, "Time After Time" will keep you enthralled. It is a glorious popcorn flick--fast, light, fun, and exciting in equal measures. Set in 1893, we meet H. G. Wells (Malcolm MacDowell) who is unknowingly friends with Jack The Ripper (David Warner). MacDowell has constructed a time machine which Warner misappropriates as he is fleeing the authorities. He travels to modern day San Francisco where he continues his murderous ways. MacDowell follows him, he must stop Jack The Ripper! He meets up with a local woman, Mary Steenburgen, who helps him adjusts and ultimately gets caught up in his unlikely story.

"Time After Time" succeeds in several different genres concurrently. This is a credible sci-fi pic, a sweet romance, a fish out of water comedy, as well as a decent serial killer thriller. I think that's what I love and respect about this film, it's out there. There is no way that this picture should work, it should be terrible. And yet, inexplicably, Nicholas Meyer has crafted an intricate and audacious work. Even if I didn't love this movie, I would respect its ambition and scope. But love it I do, this is one of the most wildly entertaining pictures you could hope to see. Some people might be tempted to dismiss this work as dated or even slight--and yes, you do have to accept that this is a product of the 70's. There are references to "free love" and other concepts of the era, but at the same time--the film is incredibly prescient about violence in the modern age. Every time Warner describes how he was meant to exist in this future, where killings and debauchery are commonplace, I understand a real truth in his sentiment.

The performances are cracking good. MacDowell is the unlikeliest hero and a refreshing romantic lead. Warner has NEVER NEVER been better. If you are even a passing fan of his, you must see this picture. And Mary Steenburgen is a delight--she doesn't do enough these days! Maybe this isn't highbrow entertainment, but it is dazzling fun. Recommended to all without even the slightest hesitation. KGHarris, 12/06.

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Rat Race (2001)

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After seeing the previews, I had *very* low expectations for this movie. A friend who had already bought a ticket for me (without me knowing) dragged me along anyway, and I laughed so hard, I was crying. It's one of the funniest movies I've ever seen--and I've seen a lot of movies! The previews only show the basic premise of the movie (think Cannonball Run) and a few moments taken out of context that just don't do justice to the intricate webs of jokes that turn out to be setups for even more funny moments later.

It has a great cast--Jon Lovits, John Cleese, Whoopi Goldberg, Cuba Gooding Jr., Seth Green, Rowan Atkinson (Mr. Bean) just to name a few, and they're all at the best I've ever seen them. Sometimes movies with such a cast of well-known and diverse people, they either 1) don't have the chemistry to work well together or 2) each subdue their "type" of comedy to blend in with the others. Neither is the case in this movie. Each member of the cast totally excels at the kind of comedy they're best at. Atkinson has the zany weird thing going, Green has the physical slapstick thing, Lovits has the lovable neurotic thing, Cleese has the "Now for something totally different" thing...

It's also a great family movie. I don't really know why it got the PG-13 rating. There's no bad language, no explicit stuff, very little innuendo, not much violence. There are a few gestures here and there (not of malicious intent; you just have to see it to know what I mean), and it makes fun of Germans, so if you're radically conservative or a very sensitive Jewish person (or German, I suppose), you may be offended.

I can't recommend this movie enough. I'm afraid that because of the poor previews and the been-there-done-that premise, not many people will go to see it, and it may end up being one of the all-time highest underrated movies. Trust me, though, this is *not* an I'll-see-it-on-video-or-cable movie, it's one of the few movies out worth the money to see it in the theater!

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Deep Impact

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Although "Deep Impact" invariably gets compared to "Armageddon", I think it's more appropriate to compare it against all other disaster movies. Viewed in that light, it not only surpasses "Armageddon", but every other film in the genre.

Unlike most disaster epics, "Deep Impact" is character driven. I think this is a direct effect of its having been directed by a woman rather than a man. While the special effects are there and are impressive, what drives this film are the emotions of the excellent ensemble cast. All of them ring true, from the occasional duplicitousness of the government bureaucrats, to the real tear jerking moments of those facing tough life and death decisions, to the small intimate moments. It's powerful enough stuff that I have to believe that a lot of the negative reaction the film elicited vis-a-vis "Armageddon" came from guys who don't like their action movies to move them to the verge of tears in public.

All disaster films depend on a hook to set them up. In this respect, most fall far short of realism and believability. Of ones that come immediately to mind, only the cosmic collision movies and "The Towering Inferno" had realistic setups.

All disaster films depend on the heros to come up with some way to save the day. Of the ones with a believable setup, many still fall short of believable and/or technically accurate resolutions. This is where "Armageddon" failed miserably. Mimi Leder had expert advice from NASA and it shows. "Armageddon" has some impressive training facilities shots from NASA, but ignored the actual technology. Very early in "Armageddon", when I saw the two shuttles docking with the space station by coming in from opposite directions, performing clearly aerodynamic banking maneuvers, I was ready to start pelting the screen with rotten tomatoes!

Giving the devil his due, both films glossed over the full impact of operations in the microgravity environment of the comet's surface.

Still, it's the raw emotions that elevate "Deep Impact" above its genre, not just the technical stuff. It's actually best in its quiet moments. Among the ones that clearly stand out:

The president (Morgan Freeman) tries to continue to maintain an upbeat message as each plan successively fails. His press conferences and the dialog around them rings true.

The dialog between the reporter (the usually annoying Tea Leoni) and her mother (Vanessa Redgrave) also rings with truth.

The ultimate reconciliation between the reporter and her father (Maximilian Schell) just before the end reflects the bitterness of choices each has made in getting to that point.

The reunion of the kid who helped discover the comet (Elijah Wood) and his girlfriend (Leelee Sobieski), oblivious for the moment to what was going on around them - again, this simply rings true.

The astronaut observing wryly, "Well, the good news is that we'll all have high schools named after us." No melodramatics, no macho heroism, just someone injecting a sense of humor into a shared fate she has accepted as necessary to save the people they love. My favorite line in the film.

From start to finish, this film is a class act. A realistic film that carries an emotional impact to be expected of its serious subject matter. Part of this impact is that you can't always guess in advance which characters will and will not survive. Of the ones who don't survive, not all face their fate gracefully, but all are believable.

This movie began my fandom of Mimi Leder, who I consider to be one of the best directors working today - not always commercial, but always excellent. This is on my short list of my top ten favorite movies of all time. Highly recommended!

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Letters To God

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The movie has a wonderful message and more than being sad it was uplifting.

While the movie does tug at your heart strings. Letters to God is a good movie. We want Tyler to get better. We want his family and friends to be strong. We want everyone who is touched by his story to find the Lord.

The acting is good. The storyline moves and you find yourself really caring about these people. I love the scenes of Tyler and his friend Samantha. Tyler and his brother. Brady the mailman who eventually is saved by Tyler's Letters to God are all very moving.

Not overly religious? Don't worry.
While it is obviously a religious movie, I don't believe messages are crammed down your throat as in some religious themed movies. The movie is a feel good movie with a beautiful message of friendship, strength, inspiration, prayer, second chances and dignified endings.

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Funny Farm

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This is definitely one of the better Chevy Chase vehicles, as it does not go too far off the beaten path and is handled with a lighter touch than many of his other films. It is funny, wry, and deftly humorous.

The plot is simple. A sportswriter from New York, Andy Farmer (Chevy Chase), and his wife, Elizabeth (Madolyn Smith-Osborne), decide to move to the country so that he can write his great American novel. They move to rural Redbud, Vermont, and instead of a bucolic, pastoral setting with friendly, kindly, country folk, they find snakes, a postman who maniacally drinks and drives, a sheriff who can't drive a car, a corpse in their back yard, and a whole slew of the weirder than weird.

Instead of writing the great American novel, Andy only manages to turn out some useless drivel, while Elizabeth turns out a charming children's book. This causes great friction between the two, and it looks as if their sojourn in the country, as well as their marriage, is to be a brief one. They decide to move back to New York and inveigle the entire town of Redbud to assist them in selling their house, by turning the town and its environs into a warm and cozy setting out of a Norman Rockwell painting. What happens next is quite funny.

Just about every one in the film is a little wacky, with the exception of Andy's wife, Elizabeth, who is the one sane, grounded character. Madolyn Smith-Osborne gives an excellent performance as the wife. She is a perfect comedic foil. Chevy Chase as Andy is well...Chevy Chase and, as always, funny. The supporting cast is likewise excellent and contribute to the many humorous moments in the film. All in all, this is an enjoyable comedy that is fun for the whole family.

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Black Swan

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Darren Aronofsky has been circling movie news sites pretty frequently as of late. He recently signed on to direct the stand-alone sequel to X-Men Origins: Wolverine (appropriately titled The Wolverine). He also developed a rather large and devoted fanbase over the course of directing fantastically surreal films such as Pi, Requiem for a Dream, and The Wrestler, but his psychological thriller Black Swan has also been gaining quite a bit of steam leading up to its December 3rd release. Despite Aronofsky's already well-established reputation and the rather high anticipation for the film, Black Swan still delivers a product that is even better than expected.

Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.

Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.

The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictability for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.

While some might not be surprised that Aronofsky has created yet another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and what is perhaps the performance of Natalie Portman's career. It's hard to argue with Black Swan being the best film of the year.

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The Last House on the Left (Unrated)

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Wes Craven's The Last House on the Left was released in 1972 and I heard from many people who were old enough to see it when it first came out (like my dad) that it was the most shocking thing anyone had ever seen. To this day the original is still a raw and often disgusting piece of cinema, so being that in 2009 films can push the envelope even more, I didn't know how far this thing would go.

It's shocking, brutal and gross, but it didn't just go the buckets of blood route. Yes, there is some gore, but compared to films like Hostel and SAW this is quite tame. What does get under your skin is the rape scene. I read that some people witnessed others leave the theater at this point and they never came back. I guess they didn't see the original or read up on what they paid to see before plopping in their seat. It shows little skin compared to the 1972 version, but it's a long scene that is painful to watch.

The cast is quite good, though most are actors whose names you won't know. The father, played by Tony Goldwyn, and the leader of the killers, played by Garrett Dillahunt were the standouts.

For a film as gritty as this one, the cinematography is polished and takes away a little bit of the raw power that the original had. I actually don't think Wes Craven's 1972 flick holds up well today and thought this remake was better.

Make sure you are in the right frame of mind before seeing this one. By that I mean, don't watch The Last House on the Left and expect to be in a good mood when you leave. While it's a pleasure to see the parents take out the villains one by one to avenge their daughter, you will leave the theater looking for the bright sun to make you feel clean again. Too bad it was raining when I got out. Don't worry, I think I'll be okay.

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THE HIGH AND THE MIGHTY

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Tied up for years in the John Wayne estate has been the re-release of this 1954 movie, "The High and the Mighty". (which won the Academy Award for Best Song that year...look for a plaque at Mann's Chinese Theatre in Hollywood when you visit there).

As a child growing up in L.A. in the 50's and 60's, I remember the then RKO TV station Channel 9 would show this movie relentlessly for years on end. Then it all stopped. The movie vanished. And now it is being held hostage for some legal reason.

It is a movie filled with surplatives though younger viewers might find the lack of hyberbolic special effects, sexual gymnastics, de riguer corporate disembowlment themes, blah blah....too unsurvivable for a start-to-finish viewing. It is a vintage 50's type movie...at its best.

This is John Wayne's best movie, in my opinion. He is excellent...taking him out of the cowboy theme he ultimately became cemented into. I will always remember John Wayne in my mind as he was in this movie...especially the very last scene which alone is worth the price of admission. Fittingly, the Orange County Airport is named after John Wayne, who had a career early on of appearing in films with aviation themes.

Ernest K. Gann, who penned the story, was an American Airlines pilot who churned out aviation novel, one after another. His equally famous novel that was made into an excellent movie, was "Fate is the Hunter". Both of these movies deal with an aircraft incident/accident. "The High and the Mighty" concentrates on the human dynamics of a flight crew and their maintenance base trying to cope with a mechanical problem en route over the longest single over-the-ocean route in the world: Honolulu to San Francisco. It is as dramatic and technically accurate as you could possibly get. In fact, "The High and the Mighty" had all the elements of the recent Jan. 31, 2000 Alaska Airlines crash northwest of Los Angeles.

"Fate is the Hunter" meticulously examines the post accident phase of aircraft crash investigation. It is almost like a Hitchock movie in terms of suspense. I don't think this movie is available either and that is a shame since there is so much junk out there that is. Glenn Ford is the star of this movie.

The exciting conclusion of "The High and the Mighty" stays with you forever...much like the ending of the movie "The Spirit of St. Louis" which starred James Stewart (also a great movie and is available).

"The High and the Mighty" is a true aviator's movie...it has the feel and touch of a veteran pilot at the yoke, Ernest K. Gann. All of us down on the ground here can only hope and pray that the powers to be let this great, great American film out of the hanger and let her fly again....soon.

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