Children of Men
As much as science fiction films are maligned for being the playground of geeks and fanboys, the genre has a pretty stellar track record when it comes to reinventing what we as an audience expect from the cinema. To those that saw them in their original theatrical release, films like Star Wars, 2001: A Space Odyssey, and Blade Runner are described as "experiences" more often than as "films;" drawing out the hyperbolic sides of people, phrases like "life-changing" aren't at all uncommon.
As soon as there's a generation of filmgoers young enough to have missed it, I imagine I'll be saying the same things to them about Children of Men.Continue Reading
Children of Men
Can one really imagine a city underwater? A meteor penetrating the Earth's ozone layer after a team of rogues tries to stop it? Dormant aliens or complex thinking machines rising from the Earth's core? Zombies dressed like your neighbors who hunt down the fit and handsome last man on Earth? The answer is a resounding “no.” But infertility...inhumane policing of immigrants...turmoil and depravity...a civilized and desperate reach towards mankind's will to sustain and overcome—well, that's an apocalypse that is much more tangible. Alfonso Cuaron's slow burn to the end of mankind paints a poetic picture of biblical proportions. One that not only allows the viewer to sink into a mortifying suspense of disbelief, but also manages to exemplify a relevant and powerful social commentary; a science-fiction for realists.
Cuaron's name seems to be on a lot of people's tongues following the recent release and accolades of Gravity, but Children of Men is a masterpiece that, while commercially a success, fell short of the sort of interest and praise of his latest work. It's as though fans of the genre were still caught up in the thrill and evolution of robots and outdated imagination. Perhaps the grizzly immigration policy aspect struck a nerve or was regarded as too controversial.Continue Reading
Dressed to Kill
Throughout his career, Brian De Palma has been said to mimic Hitchcock, either as praise or as derision. Yet that conventional wisdom does a disservice to the unique cinematic language showcased in films such as Carrie (1976), Scarface (1983), Sisters (1973), and Blow Out (1981). Perhaps no other work comes closer to epitomizing the director's obsessions and sensibilities better than Dressed to Kill (1980), a sexy, bloody, and at time darkly humorous thriller that borrows heavily from Hitchcock but is quintessentially De Palma.
Those who have not seen Dressed to Kill should stop reading and save its surprises for the first viewing. The film bears many similarities to Hitchcock’s 1960 masterpiece Psycho, with echoes of Vertigo (1958) and Spellbound (1945). It opens with a dream sequence in which Kate Miller (Angie Dickinson), an emotionally dissatisfied housewife, sensually showers while watching her husband shave. Suddenly, the hand of an unseen attacker grasps her mouth, and we come to realize the sadomasochistic undercurrent of her fantasy.Continue Reading
Hannah And Her Sisters
Many consider Hannah And Her Sisters to be the third and best installment in Woody Allen's realistic New York "dramadies" (the other two being Annie Hall and Manhattan). While not as stylish as the previous two, and perhaps even slightly marred by some distinctly 1980's hair and wardrobe choices, the film is one of the director's most mature and dense with ideas while still balancing his knack for comedic writing.
As indicated by the title, the multiple-storied movie focuses on the love lives revolving around Hannah (Mia Farrow) and her sisters Lee (Barbara Hershey) and Holly (Dianne Wiest). Hannah's husband Elliot (Michael Caine) is torn by his romantic feelings for Lee, eventually leading to an uneven affair that also has Lee re-evaluating her life with ex-professor and current lover Frederick (Max Von Sydow). Meanwhile, Hannah's ex-husband Mickey (Woody Allen) is a worsening hypochondriac who starts questioning the meaning of life after receiving news he might have a potential brain tumor. He also develops an interest in Holly, who is feeling secure and confidant in anything except her career or love life.Continue Reading
A half decade before his breakthrough films Salvador and Platoon would make Oliver Stone a major director with a political conscience, The Hand proves to be an odd film for Stoneaphiles. It’s his second following his unwatchable low budget horror flick, Seizure, and it works well as a suspenseful psychological horror thriller, but more importantly it proves that no matter how ridiculous the material Michael Caine makes anything worth watching.
Caine plays a successful comic book artist in Vermont. He and his younger wife (Andrea Marcovicci) are having marital problems - his wife wants to go to New York City to study at a groovy yoga center, he just wants to be left alone. He loses his hand in a freak car accident, which is the worst thing that can happen to an artist. The hand is never found. He is forced to get a mechanical prosthetic glove. After his wife leaves him, he takes a job teaching at a central California college. He begins an affair with a student (Annie McEnroe) and gets a yahoo drinking buddy (Bruce McGill, D-Day in Animal House and later a respected character actor in films like The Insider). Suddenly people around him start to turn up dead (including director Stone playing a wino). They are murdered on screen by a walking hand, but it may all be in Caine’s head. Is he actually doing the killing?Continue Reading