Deep in South American jungle there's something afoot. A splinter group from Pizzaro's expedition is sent to find El Dorado, the legendary city of gold. This group is steeped in Christianity as they spread it throughout the new land and the natives that inhabit it. It's like a trade in a way: We'll give you Christ if you give us the gold. As the film progresses and the group heads further into the jungle everything begins to fall apart as the natives become more and more restless and Aguirre (Klaus Kinski) develops the obsession of being the next Cortez.
Aguirre lends itself to so many films that came after it, particularly Apocalypse Now. The basic premise between the two films is the same. A mission on a boat slowly falls into total chaos. Just like the characters on screen, we have no idea what's around the bend in the river ahead. With Aguirre, there are two things that make it such a great movie. The first is Werner Herzog's direction. All great directors use the environment and the background as another character in their film. Herzog accomplishes this by making shots seem so beautiful and so sinister at the same time. What lies in the trees over there? Herzog gets into the soul of the jungle right along with the souls of the characters.
Of course when we talk about characters we have to discuss the second part of the Aguirre equation and that is Klaus Kinski. He is that desire, that rage, that cut throat individual that will advance to his goal no matter what the cost. He surveys the land like a god looking over his domain. He will start is own empire, even when things are at their darkest. In a way Aguirre and Kinski are bound by their identities. They're the same person in the end.
Aguirre is one of those films that people stumble upon. A story that doesn't sound like much on the surface becomes an imaginative journey into the unknown. A story that is universal in nature, Aguirre is a great piece of German cinema.
Black Swan is about a dancer named Nina (Natalie Portman) who has already cracked under pressure. We don't know when and we don't know where she finally snapped, but the damage had long been accomplished by the time the movie starts. Nina's whole life is ballet. She is the object of perfection, almost like a Snow White complex. Nina is up for the lead in Swan Lake, where the dual roles of perfect, virginal angel, and the black clad seducteress are the headlining attractions. Nina is made for the White Swan, but can she let herself going playing the Black Swan, a completly different charachter and psyche. It's this metamorphisis that brings to mind the old adage "life immitating art".
As I said in the beginning, Nina was already unstable as she deals with psychological issues and being full of paranoia throughout the film. What Black Swan represents is the aftermath after breaking, the abyss in which people swim when they hit the bottom. Here fate was sealed before the studio moniker comes up. That's what is so sad about it.
Natalie Portman deserved her Oscar for this film, hands down. A mesmerizing performance that takes us into Nina's world of trying to balance the two personalities that she must become to be a success. Portman is the key ingredient in this film.
While watching this I was struck by how similar the story compares to Darren Aronofsky's other masterpiece The Wrestler. Both feature two people on the verge in their careers, although when is at the end while the other is at the beginning and the idea that they are willing to self destruct to reach their goals. Aronofsky has created another great film that explores the yearning of the soul and the lengths one will go to succeed in their life.
Last House On The Left is an example of early 1970's exploitation cinema that deals with Mari (Sandra Cassell) and her friend Phyllis (Lucy Grantham) as they indulge on the eve of Mari becoming a woman ie. turning seventeen years old. They go to a concert in the big, bad city and wind up in the hands of Krug (David Hess) and his gang of fugitives. In the process of heading for Canada both girls are tortured, raped, and eventually killed. Ironically, their car breaks down in front of the home of Mari's parents (Gaylord St. James and Cynthia Carr). The group spends the night at their house posing as traveling insurance salesmen, but what happens when Mari's parents find out who they really are and what they did.
So what is Last House On The Left? Is it an early work of genius from Wes Craven? A masterpiece that showed a man that was well on his way to create films like The Hills Have Eyes and Nightmare On Elm Street? Is this effect doubled because it was produced by Sean "Friday The 13th" Cunningham? This is why the legend of this movie has grown as much as it has- because of the folks involved in it. This film is no different than the hundreds of other drive-in exploitation films that were being pumped out of various producers garages in the early 1970's. It's no better and no worse. A bad script, bad acting, a lack of money, and an inexperienced director makes this film almost laughable if it wasn't for the violence on the screen. That's the key to a film like this and I Spit On Your Grave. A quote comes to mind when thinking about these two films. One comes from Roger Ebert's original review of Spit in which he discusses a fellow patron at the theater he was watching the film at saying "that was a good one" at the end of one of the numerous rapes scenes in that film. There's an audiences for stuff like this. It's like porn. Screw the plot, as long as it has that stuff and an unsatisfying conclusion.
Just look at this like a rough draft for some of the films that Wes Craven would make later. It's his first one so we can't be to hard on the guy. it was the genre in 1972. But a classic of horror cinema? If that's the case then you can call a used piece of toilet paper a classic too.
OK, so what's the plot? A hair stylist (Queen Latifah) walks out on her boss (Kevin Bacon). Boss doesn't think she'll make it. She makes it while stealing all of his customers in a comedic process. Meets hot guy (Dimon Hounsou). Boss tries to get revenge.
Yes, you have seen this movie before.
It has a few funny moments, some of them not intentional, but Beauty Shop really is your standard, predictable, recycled film. File this one under "Been there, done that".
Limitless opens with the Hollywood stereotype of writer Edward Morra (Bradley Cooper) sitting in front of a blank screen with nothing on it. You know there's a deadline or advance riding on this. His girlfriend (Abbie Cornish) has dumped him. He's a guy on the ropes with a knockout punch waiting to knock his jaw loose. By a chance meeting in the street Eddie stumbles upon something that could change the world that isn't an everlasting gob stopper. It's a pill that can be described as steroids for your brain where you use more than twenty percent of your available brainpower, holding and recalling vast amounts of data that you thought you forgot. Our hero Eddie is obviously going to use this wonder drug to his advantage, but with something to good to be true there's going to be somebody else out there that wants it. The film basically follows Eddie as he balances his gifts, the people who want to take them away, and his own sanity.
I have to say that Limitless is an amazing concept that is very intriguing on the surface. I thought it was a cool idea, the whole pill to the brain thing. The thing is that the film is a bit contrived and very predictable in nature. There will be no surprises because they don't leap out at you, they call before they come for a visit. Considering the trailer ruins what could have been a great plot twist also lowers the rating of the film for me (blame the studio). I know this is a movie about a noggin drug, but moments even exceed those plot points- killers that will run through 70+ people in a park, Scarface's apartment building. Over the top all the way.
This is an entertaining film, but nothing earth shattering. I'm sure in a few weeks it will be forgotten until the DVD comes out and then it will gain a slight freshness to people who don't go to a theater. And then you'll never hear about it again. A great plot poorly executed. Entertaining for the time being, but out of your system in a matter of days.
The only way to start explaining The Fighter is to say "Imagine Rocky if he had his family lumbering around running his career." Mark Wahlberg plays Mickey Ward, a boxer on the verge of being over the hill. Mickey's considered a stepping stone for other fighters to pummel on their way to fortune and glory. Mickey's brother Dickie (Christian Bale) is a local legend who acts as a trainer for his brother. Dickie has also developed a crack addiction that is spiraling out of control. The family controls Mickey's career, but it soon seems that he's just a piece of meat while Dickie still rides on past glories. The eventual crash is set up almost from the beginning.
Did Bale deserve the Oscar? Of course he did. There's no screaming "Hey, it's Patrick Bateman!" or "Hey, it's Batman!" while watching this film. Bale morphs into the role of Dickie Ecklund. It's an amazing performance that should be highlighted as one of the best from the last decade, let alone the last year.
The funny thing is that art imitates life in that Bale's performance has overshadowed Mark Wahlbergs outstanding performance. He's a man torn between his family and what he wants. Props also go to Amy Adams as Mickey's girlfriend, going from the bubble gum films of yesteryear to deliver a gritty performance of a bar maid from the streets of Lowell, Massachusetts.
It's not really a perfect film, but the performances out do the issues with the story. The acting acts like an eraser. A good movie with terrific performances.
