Uncut Gems Review

"This is how I win...the Oscar...hopefully."

After making their entrance to the mainstream with 2017s' Good Time, the Safdie brothers return with a crime thriller that is getting praised in several places, for both the Safdies work, and the man in front of it all.

As usual, I'll try to be a bit vague regarding what happens in the film, as part of the "fun" is seeing what Sandlers' Howard is going to do next.

The Good:

- On technical fronts, the film is well-done in many aspects, but I'll start with the cinematography here. I quite like the look of the film, as it manages to blend the pristineness of the world of jewelry, while still evoking the "vibe" of 70s crime thrillers, where it's clear that the Safdies are huge fans of. At the same time, it keeps a "guerilla" approach that manages to create a "fly on the wall" approach in some scenes, yet draws us in more intimate scenes, which is on both Darius Khondji and the Safdies.

-Speaking of the Safdies, one thing that I love about this film (and Good Time for that matter), is that the Safdies find a way to channel the thrillers of yesteryear (The Gambler, The Friends of Eddie Coyle, The French Connection) yet still manage to make them fresh. For example, the rap music that the Safdies implement really helps in creating a modern sensibility & energy, instead of that music coming off as filmmakers scouring a Top 40 from Spotify and calling it a day. Another example is the use of smartphones and phones in general, as weird as it may sound. A lot of texts and phone calls really add to the tension in many scenes, particularly ones where Howard has to juggle with many people pestering him at once.

- Back to the technical fronts. The editing of this film also helps to create a nice flow to the film, in that it generates a kinetic energy, yet never manages to become overbearing and/or tiresome. It knows when to make scenes speed up, and knows when to slow things just a tad so that the audience can fully take in what's going on. The sound editing & mixing are also well-made in the sense that every text message and phone call sound duly important.

- The actual score of the film is fairly remarkable, although I'll admit I'm a sucker for synth-based scores in general. Anyways, I find the score to be a nice companion piece of sorts to Good Time, as that one is more frantic in nature. The score for Uncut Gems also helps to create a rhythm here, as it may be more spiritual at times to evoke the pristineness of Howards' beloved jewels and opal, where it also pieces that are more frantic where Howard is in more danger.

-The cast here is very strong on the whole, and I'll focus on some of the supporting ones here

• Eric Bogosian makes for an entertaining ring leader of thugs so to speak, but what takes the role even further is that he's Howards' father-in-law. Yes, he consistently pesters Howard for the money he owes him, but what I love are the moments that illustrate that he doesn't fully hate Howard. His two other thugs are also good in just creating a presence of "muscle", particularly Keith Williams Richards.
• Lakeith Stanfield is strong as we can all expect from him nowadays, and it's another feather in the cap to his ever.impressive resume. Anyways, he's good here as Howards' assistant whos' ego starts to grow after working with Howard for quite awhile.
• Julia Fox is impressive in her feature-length debut, as her vapid take as Howards' alluring mistress is great in showing that she clearly loves the high-life, yet she somehow actually does care about Howard in several scenes.
• Former NBA star Kevin Garnett proves to be a decent actor here. Yes, he's playing himself, however, he doesn't use that as an excuse to just say his lines, so to speak. He's pretty good in making a guy who falls in love with an opal believable, which makes sense if you think about how many athletes are superstitious. He's also kind of funny in one scene where he just tries to comprehend Howards' methods.
• Lastly, Idina Menzel (Frozen) is also great as Howards' long-suffering wife, as many of her silent moments indicate that she's been fed up with Howard for some time, which also results in one of the films most intimate/memorable scenes.

- Ahh but what is a great ensemble without the man in front of it all. I'll keep my thoughts on Sandler brief for now, since I want as many people as possible to see how great he is here, but alas:

• Sandler here proves the adage that an actor with the right material can do wonders. His natural intensity is used marevlously here, as we see a guy who's always on the edge and on the go. He's always looking for a way to score and he's quite the adrenaline junkie. His energy here is perfect. What I think takes the role and Sandlers' performance even further and makes it more dynamic are the "quieter" moments, where he tries to explain his methods or where he simply breaks down. Besides that, it's pretty amusing to see Sandler play a guy who everyone loves to hate...kind of like Sandler himself. In short, all I'll say for now is that I love this performance.

The Bad:

-Nothing much really for me. Maybe a couple of the characters could've been developed a bit more, although I think we get just the right amount so that we can see how Howards' actions fully resonate on his family/work associates/a combination of both in some cases.

The Ugly:

-There's been several arguments that the film is simply too much in terms of what it throws at you, and some have called it exhausting. I would technically disagree, since it delivers the right amount of thrills for me. At the same time, I won't blast anyone where they say the film didn't work for them, as every film isn't for everyone, this one included.

Conclusion:

- Uncut Gems works brilliantly on two fronts in my book: as a character study of a guy who just won't stop trying to score, and as a crime thriller of that same guy in a higher-class world who's trying to win it all. I love this film, and I'll gladly take whatever the Safdies cook up next. Even if the film isn't quite one's cup-of-tea, I would recommend it just for the merit of Adam Sandlers' performance.

5/5

Star Wars Ranking

I'll be the first to admit that I am not in love with the Star Wars franchise as millions of other people are. I want to get that out of the way before I elucidate about each film. I will admit however, that the world of Star Wars is quite inventive, with its different planets, unique weapons, "The Force", and of course, the many characters that people love.

Now that the Skywalker saga is as the end of the road, I've decided to take a look back at the beloved franchise.

Just plain ol' Star Wars

11. Attack of the Clones (1)

Eh, where does one begin? Just a boring mess of a film filled with scenes that really amount to nothing. The dialogue is full of cringe, the main romance is dull, the plot threads are devoid of intrigue. All of this results in a climax that just exists, and barely at that. When I first started describing this one, I thought I would have more to say, but I guess it's really dissolved in my memory.

10. The Phantom Menace (1.5)

The prequels get off to a bad start with this film, although I will concede that is not completely without merit. Anyways, I find The Phantom Menace to be rather thinly-written in that Lucas decided to set up the world & characters of the prequels and call it a day. For starters, Jake Lloyd was miscast as the young Anakin Skywalker, in that there really isn't a sense of who he would be later in his life. In regards to the rest of the cast, Liam Neeson and Ewan McGregor are rather wasted in mentor roles that may as well have been named "Mentors", despite McGregor playing the iconic Obi-Wan Kenobi. Jar Jar Binks is also a swing-and-a-miss as the comedic relief, although for some reason, I don't hate his character as much as many seem to.

The world that Lucas creates here doesn't have much, if any, a life of its own, and it seems that he really just wanted to test out some new visual effects here. Most of the action scenes are rather forgettable, though I don't think the pod race is completely awful. Besides that, the film does have a solid score, especially "The Duel of Fates" and Darth Maul looks exactly like a Star Wars villain should. The film isn't completely disposable, but overall, just rather lame.

9. The Rise of Skywalker (2) (SPOILERS)

The disappointing conclusion to the new trilogy. TROS follows Daisy Ridley as she and her fellow ragtag group of friends chase...something...to defeat Emperor Palpatine (?) once and for all to conquer evil...or something like that.

*Sigh* To be frank with you, I'm not completely sure how to begin with this. The film has descended in my memory ever since I watched it; even while I was driving home from the theater. The film is incredibly overstuffed, the editing is very choppy AND rushed, the action scenes are just there, the lightsaber duels aren't anything noteworthy. Even some of the fan service moments are a swing-and-a-miss (the Endgame "everyone shows up" scene, a couple of the cameos).

Past that, the implementation of Carrie Fishers' deleted scenes from previous films is very stilted. Also, although I will admit that I don't have an encyclopedic knowledge of Star Wars lore, the decision to bring back Palpatine is very baffling, as it negates the climactic scene of Return of the Jedi in terms of Anakins' sacrifice. Speaking of Palpatine, the choice to make him Rey's grandfather (SERIOUSLY?!) was...not a good one, as it implies that the only people in Star Wars that are worth a damn are those who were born in the main families, so to speak.

Aside from that, Daisy Ridley does a good job of anchoring the film, and I don't have any complaints about her, since she does try to make something out of the material. Driver is also decent here, although it's a true shame that his story ends the way it does, since with better planning & execution, Kylo Rens' arc could've been something memorable.

When I first started writing these thoughts, I was planning to give the film a 2.5, but the more I think about it, I have no choice but to lower it.

8. Revenge of the Sith (2.5)

Indeed the best of prequels, but that's not saying too much. This one at least does have a semblance of a plot, as we see Anakin Skywalker truly become evil, or the attempt to do so anyway. Besides that, the film really isn’t much to write home about, but I’ll at least it give credit that it does feel more like a film compared to Attack of the Clones. I also found the film less difficult to get through, so props there as well.

I thought I was going to have more to say about the prequels. I guess not.

7. Solo: A Star Wars Story (3.5)

Alright now on to the...better stuff. While I would've LOVED to see the Lord & Miller version as originally planned, I honestly wouldn't call this a bad film, but rather one that's just overstuffed. Alden Ehrenreich is good as the young version of Han Solo, as he does make his own stamp on the character. The rest of the cast is solid as well, with Emilia Clarke, Woody Harrelson and Donald Glover in supporting roles. The action is actually pretty good, as the train heist and the main chase scene towards the end are quite memorable.

That said, I do think the film tries to cover a LOT of ground in one film, which is probably the franchises' biggest recurring problem at the moment. A lot of sections in the film could've made for a good film on their own, although they're at least watchable. I also think that the cinematography, while not terrible, is oddly-fitting for a Star Wars film, as the film just has a very hazy look to it that makes the film seem more drab than intended. Still enjoyable to be sure, but I think there could've been something special with a young Solo spin-off.

6. Rogue One (4)

An entertaining heist film that successfully expands on the world of Star Wars besides the Skywalkers. We get a closer behind-the-scenes look at how The Rebel Alliance works, as we see Jyn Erso (Felicity Jones) along with Cassian Andor (Diego Luna) attempt to steal the engineering plans of The Death Star. Jones is great in the lead role, as she makes for a likable action lead, which is more impressive since this is the only film she gets to work with.

Most of the rest of the cast is great in supporting roles, with Diego Luna as a devoted officer of the Rebel Alliance, Riz Ahmed as a cargo pilot, Alan Tudyk as a just-delightful droid, Mads Mikkelsen as Jyns father, and Donnie Yen & Chow-Wun Fat as two memorable warriors. All of them manage to create a vivid life to them, and they do suggest that they lived a life outside of the frame that we see them in.

I'll admit the villain here isn't great, as Ben Mendelsohn is just sort-of-there as the main antagonist of the film (not a knock on him btw), the CGI is...not great, and Forest Whitaker is...not good. Darth Vader's first appearance is questionable, however his second is a true knockout. Past that, the film has many intense scenes throughout its running time, and its last thirty (30) minutes are a home run, with the beach planet also being a great addition in terms of scenery and place. Not a flawless film, but a rather entertaining one.

5. The Last Jedi (4)

Alright, I'll start off by saying that I do appreciate the risks that Rian Johnson with the second installment of the new trilogy. He does attempt to take the franchise in a new direction, with the main focus being with Mark Hamill reprising his iconic role. Here, we see Luke take a hard look at how far the Jedi have come, and make the argument that the best way to move forward is to look farther away from the past. I do understand where Rian Johnson is trying to take the character, and it's really helped by Hamills' best performance as Luke in my book. The best scenes in the film are in the more intimate ones, particularly with Luke/Rey and Rey/Kylo.

Past that, the film is very well-made on a technical level. The cinematography is quite stunning in my view, with many shots of the sky being picture-worthy, the island has a life to it that suggests Luke has been there for quite awhile, and the action scenes are well-done. Several scenes in the film are quite memorable, particularly Rey/Kylo/Snoke, the tunnel scene with Rey, and of course, the final showdown between the Rebels and the First Order, with "Luke" and Kylo at the center of it.

With that said, the film does have several flaws that hurt the film for me, although not to a huge level. The humor here gets tiresome after awhile, as the execs for Star Wars take the humor from the MCU and bump it up to 11, as EVERY character gets a quip...it seems. For example, I don't have a problem with Kelly Marie Tran's performance as Rose, yet I feel that her character could've been written out and nothing would've changed. Laura Derns' character is an intriguing addition, although it does feel rushed and it would've been better off if she had been introduced in TFA. Also, the three lessons that Luke imparts to Rey aren't fully explored, as we only see him teach two of them. I don't mind the side quest of going to Casino Blight, though I think it could've been a highlight of the film instead of just being a side quest.

Nevertheless, I'm part of the generally positive camp in regards to The Last Jedi. I would describe it as a "good, messy" film, as there many decent-to-good-to-great elements in the movie.

4. The Force Awakens (4)

The official start of the new trilogy kicked off by JJ Abrams, The Force Awakens follows the young Rey as a young woman who is struggling to make a living in a desolate planet, where she encounters a droid that has a message about a rebelli...alright, I know it's pretty similar to A New Hope.

Nevertheless, I still find The Force Awakens to be a pretty entertaining film, even if it does evoke A New Hope a bit too much. It does stick to the previous template, however, it does have enough "new" to at least try to create its own stamp on the universe. One of these is the young villain Ben Solo, better known as Kylo Ren. Adam Driver delivers a great performance that has many risks, with these including the voice that he uses to suggest the history and struggle of his character, while the physical aspects really add in adding depth to his inner conflict. Domnhall Gleeson as General Hux and Oscar Isaac as Poe Dameron both add to the film as the young power-hungry bureaucrat and the old-school hotshot, respectively.

Another new addition that I like is Finn (John Boyega), as Boyega plays a young stormtrooper who decides to go rogue and leave the First Order. This creates a new perspective to the Star Wars franchise, as we get to see how a "cog-in-the-machine" on the villain side would experience the general adventures one does in Star Wars. He encounters Rey and they both go on an adventure to find and destroy the Starkiller Base (and find the self-exiled Luke Skywalker). The action scenes are pretty well-done, and Abrams does bring a sense of fun to the film.

Besides the new cast members, the old gang is back, as Harrison Ford returns to one of his most iconic roles AND delivers one of his best performances as Han Solo, Carrie Fisher is good in her reprisal as Leia, and of course, good ol' Chewbacca. I don't have much negative things to say, besides the film aping A New Hope too much and pretty much playing things safe, but will admit that it is a good film.

3. Return of the Jedi (4)

A pretty good capper for the original trilogy, and that one that I like. The cast returns to finally trump over the Evil Empire & Darth Vader. Once again, the film is well-made, I actually quite like the Ewoks, as well digging the overall look of the forest planet.

Besides that, I find Return of the Jedi to have one of the best acted moments in the series, if not the best, and in turn one of the best scenes. That scene being where Darth Vader takes his mask off and seeks redemption for/from Luke. It is a very well-acted scene, and it works to cap both Luke and Anakins' arcs: Anakin sees the light at the end of his tormented road and saves Luke, while Luke fully understands his origin and discovers his place in the world.

I'll admit it's been a long time since I've seen the film, so maybe a re-watch will allow me to go into further detail about the film, but otherwise, it's an effective conclusion to the beloved original Star Wars trilogy.

2. A New Hope (4)

Where it all started. The brainchild of George Lucas (among others), the Star Wars franchise kicks off with the story of young Luke fighting against the Evil Empire. The film successfully introduced Harrison Ford to the zeitgeist, as he is great here as the beloved hotshot known as Han Solo. Carrie Fisher also breaks out as Leia Skywalker, as well as the aforementioned young Mark Hamill, as Luke. On top of that, Alec Guinness brings the required gravitas and then some as the sage Obi-Wan Kenobi, in what has become one of his best-known roles by modern audiences.

The story is relatively simple, but it works as a solid template for one of the most technically-advanced films of its' time. On that, the visual effects here are outstanding, and they really haven't aged much. Say what you want about Lucas, but one must not hand wave his contributions to the technical side of things when it comes to modern film making.

Past the visual effects, the world that Lucas & co create is quite unique and is fairly memorable. The costumes, for example, have an idiosyncratic touch to them that helps in distinguishing each character and where they are in life, with special mention to Darth Vader. The production design of the film is honestly terrific, as even though it is obviously set in space, it never feels as something that doesn't exist. All the sets and location shoots really feel like they're actual places and not something that someone just called it a day on. Many of the action scenes are thrilling, and have earned their place in pop culture history, to be sure.

I don't really have anything negative to say about A New Hope; me not giving the film a 5 has more to do with me not being in love with Star Wars as so many. Either way, I'll admit it's a great film, so I won't complain about it.

1. The Empire Strikes Back (4.5)

One of the most beloved films in the franchise, The Empire Strikes Back takes what worked in A New Hope and further develops that. We see our beloved heroes further fight against the Evil Empire, and the writing along with the more confident performances help take the film up to another notch in regards to the acting. Hamill and Fisher are more assured as their characters, while Ford delivers goes full Han Solo in this film.

Besides the acting, the production takes advantage of an (of course) higher-budget than A New Hope. All of the effective elements of the film are found here as well: the visual effects, the production design, the costumes, etc. Of course, the direction also greatly helps the film, as we get a dark (yet, not too dark) sense of atmosphere that creates an urgency/intensity to the crews mission. The film also has many great moments, such as THE iconic scene, the action scenes in general, and many of the intimate moments between the characters.

I would be remiss if I were to not mention the twist at the end of this film. The scene and twist itself have become iconic for a reason, as it adds a whole other layer to the Star Wars lore.

I may sound like I'm not too positive in the film, since my thoughts aren't as long as some of the other films on this list, however, it has been awhile since I've seen the original trilogy. Maybe a re-watch of that trilogy could help me go into further detail, but as it is, the original three have earned their right in film history, and popular culture itself.


What is your favorite Star Wars film? Your least favorite? Answer off in the comments below!

PTA (The Director, not the meetings)

Paul Thomas Anderson (or PTA for short) is one of the best auteurs working in the film industry today. Although you could make the argument that he doesn't completely hide his influences (Scorsese, Altman, a little Kubrick here and there), what's fascinating is that he still manages to make a distinct vision on all of his films, and one that truly feels his own. This along with making films that manage to broach personal topics in either dramatic ways, entertaining ones, or sometimes (and with great success) a mixture of both.

I'm always eager to see what he does next (a high-school set film in fact), and with that in mind, let's take a look back.

The perfect melding of two different time periods.

8. Hard Eight (4)

A solid warm-up from a filmmaker who you could tell has an eagerness to develop his own voice, even if it is a bit unrefined here. PTA manages to create an intriguing atmosphere with the diner and the gambling world of Las Vegas, where gambling veteran Sydney (the underrated Phillip Baker Hall) takes the young John Finnegan (John C. Reilly) under his wing.

The film also has a good antagonist in Jimmy, played by Samuel L. Jackson (in what is one of his most underrated performances), with also a memorable cameo by Phillip Seymour Hoffman as a young "hotshot" gambler. Although it doesn't quite feel as cohesive as his later films, this is still a strong debut by one of the best filmmakers of his generation.

7. Inherent Vice (4)

Probably a surprise placement, since I've never been one to love films that have complicated plots, and this one does go a bit too far there, though I'll admit that it's due to the source material. However, I still think this is a good film that has a lot of solid-to-great elements. Joaquin Phoenix is quite funny as the always-at-least-high Doc Sportello. I also would like to give PTA credit for making the film easier to watch than it could've been, as he creates a vivid atmosphere and makes it just engaging enough.

Past that, PTA creates a great world out of the 70s Los Angeles underworld of surfers, stoners and cops, which are all capably played by a variety of character actors (Josh Brolin, Benicio del Toro, Eric Roberts), comic actors/actresses (Martin Short, Maya Rudolph, Owen Wilson) and young promising actresses (Jena Malone and Katherine Waterston). All of them manage to create memorable characters that form part of a plot that I've come to appreciate somewhat more on re-watch. I don't love the film, but I do appreciate it quite a bit.


6. The Master (4.5)

A certainly divisive film that I fall more towards the positive, though not quite the "love" camp. On re-watch, I find "The Master" as an intriguing character study about two characters (PSH and a career-best Joaquin Phoenix) that are on different paths after WWII. This with Phoenix as the damaged Freddie Quell and PSH as the charismatic yet questionable Lancaster Dodd. The film excels when it focuses on these two, as we see also see how they both interact with the rest of Dodds' family, with them being fiercely loyal to Dodd, while they also eventually start to become a bit suspicious of Quell.

Besides that, PTA creates a vivid world in post-WWII America, and the rest of the ensemble is quite good as well with Amy Adams as loyal Peggy, Christopher Evan Welch as a dissenter of Dodd in what is my favorite scene in the film, and future star Rami Malek as a young man who gets married. Also, bonus points for casting Jesse Plemons as Hoffmans' son.

5. Punch-Drunk Love (4.5)

Somewhat timely for me to mention this film, since Sandler may also have another great performance in an upcoming 2019 film, but I digress. Anyways, Adam Sandler really proves himself in a within-type performance as the man-child Barry Egan, as PTA deconstructs the types of characters that Sandler usually plays. The film takes a realistic approach in examining what would a typical Sandler character be like in real life, as we see him get berated by his several sisters, try to exploit a loophole from a frozen food company, and just act in an overall angry way.

Emily Watson is also quite good as the female love interest of Barry, so is Luis Guzman as Barry's sidekick, and PSH is also both funny and menacing as one of the most evil mattress salesman ever captured on celluloid. While I do think The Master reaches higher heights, I like Punch-Drunk Love a touch more as a whole, so this one wins out for me.

4. There Will be Blood (5)

Featuring one of Daniel Day-Lewis' best performances, There Will Be Blood is an interesting film about one man's rise to becoming a greedy oil tycoon in early 1900s California.

As to be expected by PTA, the film itself is a technical marvel, with some of the greatest cinematography you'll ever see in a film, although you can find that in a couple of other 2007 films too. Anyways, the production design is also excellent, as all the sets and locations simply look like places you'd see in an old photo from back in that day. The oil derrick, for example, looks grand as it should be, yet also has a slightly-out-of-place look that adds an unique feel to it. Plainviews' mansion also looks exactly as you'd expect an oil tycoon's mansion to look like then, yet its desolate feel to it adds to that character's madness.

Speaking of Plainview, Daniel Day-Lewis is (surprise, surprise) terrific as the oilman Daniel Plainview. His look in the film seems like it came straight out of an old photo, and his voice is quite something as it makes him seem somewhat-proper, yet course and ruthless at the same time. Plus, he has one of the great reaction scenes in film history in "I'VE ABANDONED MY CHILD!" as well as a couple of others that are darkly funny and have of course become iconic: "DRAINAGE/I DRINK YOUR MILKSHAKE!/I'm finished..."

Besides DDL, the rest of the cast is also pretty good, with Paul Dano as the Sunday twins, and Ciaran Hinds, Kevin J. O' Connor, and Dillon Freasier as Plainviews' "son". I could easily bump the film up this list, but it'll stay here for now.

3. Phantom Thread (5)

A stunning film from PTA, and one that truly feels transformative. Phantom Thread follows fashion designer Reynolds Woodcock (DDL) as he falls in love with the young Alma (Vicky Krieps), along with Woodcock running a fashion house with his sister Cyril (Lesley Manville).

Daniel Day-Lewis manages to evoke something within himself to create a portrait of Woodcock; a passionate, intense artist who is incredibly devoted to the art. He is great here as we see his natural intensity come through in moments where he designs dresses to illustrate his deep passion for fashion, while seeing that intensity in a rude way when Alma "interferes" with his work. We also see the more romantic side of DDL as Woodcock, as he find the appropriate chemistry with Krieps as Alma, and makes the relationship between the two quite believable.

Speaking of Krieps, she is a revelation here as Woodcocks' romantic interest, where she becomes his muse and shows why someone like her would fall in love with Woodcock. Those two performances & characters would be enough for a good film, but for good measure, PTA includes the aforementioned Lesley Manville as Cyril. Manville is great here as the incisive, yet devoted Cyril, and like Krieps, manages to show why she continues to work with her brother despite his idiosyncracies, as well as suggesting that she's been doing it for most of her life.

Past that, the film itself is, as I mentioned, very transformative, as the cinematography (a joint collaboration with PTA & others) is splendid in creating a romantic atmosphere in 50s London. This goes hand-in-hand with the production design of the film, as each place in the film has a great life to it. For example, the fashion house where Woodcock conducts business has a proper elegance to it, yet has a slight casual touch that suggests it as just a place of business, if that makes sense. Another example would be where the New Year's Eve party towards the end of the film takes place, as it has a grand feel to it as a place of celebration, yet also has a small sense of loneliness to suggest where Alma is at that point in her relationship with Reynolds.

A great film, and one that I'm sure I'll always remember.

2. Magnolia (5)

PTAs' sprawling epic about...well...life in late 90s Los Angeles is quite something to behold. There are many stories in the film that are equal combinations of funny, devastating, memorable, and haunting. Take the story line with Tom Cruises' character for example (in what is one of his best performances I may add.) Cruise delivers the proper charisma as the "love guru" in the early scenes of the film, and shows why Mackey is "beloved" by many guys in the San Fernando Valley who pursue romance. The film then manages to sweep the rug from under him, as the revelation about who his father is manages to break him down.

Take the story with police officer Jim Kurring (John C. Reilly), as he tries to pursue a romance with junkie Claudia (Walters). The story line actually manages to be rather sweet in the grand context of the film, with additional help from Reilly and Walters themselves. The other story lines are also good-to-great, with PSH, Julianne Moore, Phillip Baker Hall, Luis Guzman, William H. Macy, Jeremy Blackman and especially Jason Robards all making unique characters in PTAs film.

Past that, the opening three coincidences of the film are one of the most memorable montages in the film, as it brilliantly sets up the tone and the overall themes of the film. It is one of PTAs' best directing moments, and it is also aided with great narration. The editing of the film is superb for the most part, and I do want to give it credit for doing a great job of balancing all the story lines, although if I'm being honest, I do feel the films length a little bit. Slight nitpick anyway, and I've even come to appreciate the supernatural element that arrives in the last act, as I did scratch my head when I first saw the film.

PTA truly swings for the fences, and he hits a home run.

1. Boogie Nights (5)

Perhaps a surprise placement, but for me, this is a perfect combination of style and substance, and one that at the very least you can call interesting. Boogie Nights follows the young Eddie Ad...errr...Dirk Diggler (a career-best Mark Wahlberg) as he navigates the porn industry in 70s & 80s Los Angeles. I believe that you can either see Digglers' journey as a coming-of-age odyssey or a more straightforward "rock-and-roll" but either way, Wahlberg creates a fascinating character out of Dirk Diggler. He starts out as the eager young guy who resents his home life and his place in life, until he meets porn producer Jack Horner (Burt Reynolds in a comeback role) at the nightclub where he works. From there, Digglers' journey is quite an entertaining one, as he becomes a star in the porn industry, parties hard, socializes with others in the industry, and has it all crash down once the decade turns from the 70s to the 80s.

Besides Diggler, there are several other characters in the film that are much more than characters, thanks to PTAs script. For starters: Jack Horner can be seen as just some porn director, however, the passion that he brings to trying to make the best pornography films that he can is something to admire, or respect anyways. This can be seen in the second half of the film where he has to face the dilemma of switching to shooting his movies on videotape, where continuing to do so on film will prove costly yet keep the same quality as before. Past that, he's also a great father figure of sorts, as he takes Diggler in under his wing to make him a star, yet there are several moments that suggests that he truly does care about Diggler, such as the ending.

There are many other characters that are very memorable. Another one is Buck Swope (Don Cheadle) as another porn star. Cheadle shines in the second half of the film as Swope, as he tries to get funding for a video store, yet is denied because of his past. He is then involved in a shootout where he accidentally makes off with the money. An early Phillip Seymour Hoffman is also a hoot as Scotty J,  a crew member who eyes something more than a working relationship with Diggler. William H. Macy makes his mark as a different crew member who commits a tragic act after seeing something he wishes he hadn't, and his scene along with PTAs' direction are one of the highlights of the film, as it also segues into the darker second half. Alfred Molina is quite funny in a one-scene wonder as the drug-dealing, crazy Rahad, as well as PTA collaborator Phillip Baker Hall as the antagonistic Floyd, as he duels with Horner in the porn business.

That is not even mentioning Julianne Moore in one of her best performances as the porn starlet "Amber Waves" as she is the female star in Horners' productions, along with showing that she wants to take care of her child, but is unable to do so because of her past, like Swope. The fact that PTA (and his troupe) manages to create appropriate depth to the characters without making the film feel overstuffed is something remarkable.

Once again, the productions side of things with PTA isn't something that shouldn't be handwaved here, as PTA simply knows how to put you in the world that he is depicting, as he has a great handle on the different tones in the film. By that, I mean the darkly funny scenes (the tragic act, the donut shop) and the dramatic scenes (Diggler asking for forgiveness), among many others. I truly felt that I was in the 70s/80s porn industry in Los Angeles & met all the characters, and that's a time & place that wouldn't necessarily have been on my bucket list, if you know what I mean.


What is your favorite PTA film? Your least favorite? Sound off in the comments below.

David Fincher's Films: Ranked

Fincher is one of Hollywood's go-to guys when it comes to thrillers, however, he has also proven to that he can be great when he steps outside of that. Before he returns to the director's chair for his next film, a biopic about the screenwriter behind Citizen Kane which will star Gary Oldman, let's take a look back at his films.

"I hope you fall in love with this camera, because we're going to use it ALL...DAY...LONG..."

10. The Curious Case of Benjamin Button (2)

The only film of his that I consider...well...boring. Anyways, I find the film as just a lesser version of Forrest Gump. Pitts' really just in the film, the special effects are quite distracting, and...that's about it. I'll admit I haven't seen this since the early 2010s, but I've never found a good reason to revisit the film. Blanchetts' pretty good though.

9. Panic Room (3.5)

A "b-movie" of sorts from Fincher, I found this thriller to be entertaining enough, but never anything quite special. Jodie Foster is good as Meg Altman, as we see her and her character's daughter (a pre-Twilight Kristen Stewart) fend off a group of thieves who try to steal millions of dollars in a safe that she and her daughter had recently moved into. The thieves are also more memorable than I expected them to be, with the fastidious Junior (Jared Leto), the conflicted Burnham (Forest Whitaker) and the cool-as-cucumber Raoul (Dwight Yoakam). Nothing too notable, but there are worse ways to kill a couple of hours.

8. The Game (3.5)

Interchangeable with Panic Room, but I didn't mind watching this thriller. Michael Douglas stars as investment banker Nicholas Van Orton, who hardly pays attention to his family and friends. His brother Conrad (Sean Penn) then presents him with an unusual gift- a "game" offered by a mysterious company.

There's some entertainment to be had here, as it can be fun to guess what's real and what isn't in the film. The film is full of twists and turns, and Michael Douglas is very good as Nicholas, as we see him pull off a Gekko-esque banker in the beginning of the film, whilst he anchors the plots' revelations as he loses a grip on what's real and what isn't. Nothing all that special, but it works enough as a showcase for Douglas.

7. Alien 3 (4)

A film that I thought was better than expected, although Fincher would strongly disagree. Sigourney Weaver reprises her most iconic role in the third film of the Alien franchise. The film has a lot of good things to offer: Weaver taking Ripley to new places in the colony where the film is set, a palatable atmosphere that you can sense from Fincher even if you can somewhat notice the studio interference, and also, a great supporting cast.

I think the film also takes an interesting approach in regards to Weavers' character, as we see her placed against a setting that forces her to take the concept of mortality in the end. With that said, I think Fincher could've delivered something truly special if he had been left to his own devices, and maybe he might've been if this had been his 2nd or 3rd film. Nevertheless, it is still a solid horror film.

(I'm referring to the Assembly Cut btw).

6. The Girl with the Dragon Tattoo (4)

A solid mystery thriller that is very admirably anchored by Rooney Mara in her breakthrough role as Lisbeth Salamander, where she manages to make her mark on a character that was previously portrayed by Noomi Rapace. Daniel Craig proves that he is an effective leading man after becoming best known for James Bond, and Stellan Skarsgaard, Robin Wright & Christopher Plummer are also good in supporting roles...maybe a little too good in Skarsgaards' case. The film is sharply edited and many of the scenes can be described as memorable. Again, a solid thriller that I'd consider better than the ones above, but not much more than that.

5. Fight Club (4)

Ahh Fight Club...what do I make of you? I'll start off by saying that I'm not a huge fan of the film, however, I do find it to be an intriguing one. The film has a lot of things to say about society in general, with the main topic being masculinity. This being illustrated through the dynamic of The Narrator (Edward Norton), Marla (Helena Bonham Carter), and the iconic Tyler Durden (you-know-who). The film shows that the titular fight club is really just a foolish endeavor for men to try to prove their masculinity, along with the other acts of rebellion, or should I say, Project Mayhem. I also find the film quite humorous, and it helps in trying to get the satire of the film across.

Edward Norton is great as The Narrator, and Bonham Carter is memorable, but sometimes I struggle between thinking if Pitt is either just good or great as Tyler Durden. Nevertheless, it is a film that I do like, and I do want to get that across before anyone's head explodes from me not loving it.

4. Gone Girl (4)

Again, this one is more-or-less interchangeable with Fight Club, however, I do quite like this psychological, Hitchcockian thriller from David Fincher. Ben Affleck is very good as Nick Dunne, as he tries to prove his innocence after being blamed for the disappearance of his wife Amy (Rosamund Pike in one of her best performances). The film also has several...*ahem*...memorable scenes and overall I found it to be effective. Plus, Tyler Perry, of all people, is a hoot as a Saul-Goodmanesque lawyer that tries to defend Nick (yes, I know what types of films he usually makes, but it's quite amusing to see him in this one).

Something that I like about the film is the satirical elements that can be found, such as the media who tries to control the story in anyway they can, dishonesty in relationships, and superficiality, among others. All of those are interwoven naturally within the plot of the film, and work to create an entertaining thriller with a bit more on its mind.

3. Zodiac (5)

It's been a LONG time since I've seen this one, but I find Zodiac to be a truly great film, and one could argue it as Finchers' best directed. As you may know, Zodiac follows a group of reporters as they try to figure out the identity of the titular killer, as we also see a POV from the killer himself in 60s/70s California.

Fincher once again creates a terrific atmosphere, as he finds a way to make the investigation aspect of the film intriguing, as well as creating a sense of dread throughout the entire film. Not to mention that you will find one of the scariest scenes in recent memory in this film, and that's without including a supernatural element. The cast is also terrific, as it's anchored by the sardonic Paul Avery (Robert Downey Jr.), the very determined Dave Toschi (Mark Ruffalo) and the enthusiastic-turned-obsessive Robert Grayson (Jake Gyllenhaal). We get to know these gentlemen as people. Anthony Edwards, Brian Cox, Elias Koteas and especially John Carroll Lynch are all great in supporting roles.

My only slight complaint about the film is that it does feel like it goes a bit too long, however, that has more to do with me watching when I had less patience for lengthy films. A re-watch could bump this film up the list, but either way, it's a great film.

2. Seven (5)

Another great thriller from Fincher, and one that's deserved its memorable and iconic status. Se7en, to be more accurate, follows the young David Mills (Brad Pitt) and the close-to-retirement William Somerset (Morgan Freeman) as two detectives in a grimy American city who attempt to pursue the serial killer who carries out his murders in accordance to the seven sins.

Brad Pitt delivers one of his best early-career performances as the determined detective, as he makes Mills someone that the audience can relate with as he tries to solve the case along with Somerset. I don't even mind the faults of his last scene, as the pros of his performance more than make up for it. Morgan Freeman is also great and kind-of-underrated as the veteran detective who carries the emotional core of the film quite well, as many of the best reactions in the films' climax belong to him. Past that, the actor who plays John Doe is very unforgettable and manages to create a lot of complexity in his limited screen time, as well as delivering one of the memorable yells in film history: "DETECTIVE!"

Fincher once again delivers a great sense of atmosphere in the stylized, dreary American city where the film takes place. He also has a good grip on the main action scene in the film, that being the main chase of John Doe, as well as the climax, which is one of the best you'll ever see in film. Past that, Fincher also manages to find the emotional core and the required nuance to make this film something quite memorable that would elevated the film to something way more than a B-type thriller.

1. The Social Network (5)

One of the greatest accomplishments in recent film history, The Social Network follows the rise of Facebook in its early days as well as its growth. David Fincher manages to make what could've been tedious in another director's hands, and he manages to show the founding of a social media website quite fascinating.

The performances here are quite terrific, with a career-best Jesse Eisenberg as the calculating Mark Zuckerberg, a pre-Spidey Andrew Garfield as the heart of the film, a breakthrough Armie Hammer as the dignified Winklevoss twins, and Justin Timberlake former-hotshot-who-still-thinks-he-is Sean Parker. Rooney Mara is also good as Zuckerbergs' ex-girlfriend.

The film has many great scenes that go further to make the film quite dynamic in its structure. Take the framing device of the deposition between the Winklevii twins/Eduardo Suaverin and Zuckerberg. The device works in creating animosity among the different parties, as we get to see the different developments that resulted in Zuckerberg being sued with the Winklevoss claiming that the idea for Facebook was stolen from them while Suaverin suing for his shares in the company being diluted.
Take the rowing scenes, as Fincher & Hammer make the sport something quite invigorating as we get a closer look at the lives of the Winklevoss twins besides just seeing them as a plot device.

Aside from the plot and the performances, the technical elements of the film are quite remarkable, with a score that adds to the coldness of the films' relationships, while also being rather energetic in the scenes that show the rise of Facebook. The film is also sharply edited, as the aforementioned deposition works very well as a back-and-forth framing device that goes hand-in-hand with the rise of Facebook.

I haven't even mentioned the script by Aaron Sorkin, as it is a perfect fit for Finchers' style. Sorkins' writing can (and usually is) rough around the edges and quite frankly, indulgent. Here, Fincher manages to smooth over Sorkins' usual faults, and manages to make the dialogue hit harder without being blunt at the same time. It's a delicate balance that Fincher aces quite successfully.

A masterpiece of a film that only grows stronger in my mind the more I think about it.


P.S. *Glares at Tom Hooper*

P.S.S. I wonder if we'll get a sequel one of these days, because there sure is the material for one...


What is your favorite Fincher film? Your least favorite? Answer off in the comments below!

Damien Chazelle: Hollywood's Wunderkind

As the title suggests, Damien Chazelle is one of the brighest young (for directors anyway) filmmakers in Hollywood right now. From his films being great on the technical fronts, to getting career-best/overall strong work from his actors, and especially knowing how to end a film, Chazelle will be around "La La Land" (sorry) for a long time.

Now that he's announced his next film (a 1920s-Hollywood-set film where he will reunite with Emma St-I'M SOLD), let's take a look back at his three mainstream films so far.

This will definitely look good on his Ivy League applications.

3. Whiplash (4.5)

I am more in the "really like" camp than the "love" field that many seem to, however, I still think this is an interesting film that takes a good look at the "career vs. family/friends" argument.

The technical elements of the film are outstanding, as the sound editing/mixing really add a lot to the drumming scenes, as well as the music in general. The editing in the film also makes the scenes have a certain life to them, with particular mention to the famous (infamous?) "rushing/dragging" scene.

Besides that, the film is led by a good performance by Miles Teller as the young Andrew Niemann, where he portrays a music student who will do whatever it takes to be considered one of the jazz drummers of all-time. He makes the passion seem something that truly comes from Niemann, as well as the exhaustion when he's pushed around. 

However, I would be remiss if I were not to mention the other main performance: J.K. Simmons as Terence Fletcher. In a very-deserved Oscar-winning role, Simmons is excellent as the terrifying music conductor who pushes his students to the edge (literally, if he was allowed). Simmons makes sure to give every threat/burn a visceral sting, as each of them serve their purpose in terrifying his students. Besides that, Simmons isn't even one-note as Fletcher. He delivers moments of warmth, such as when he initially interacts with his students, as well as instances of downplayed passion ("good job..."). The character of Fletcher would've been more straightforward and possibly even rote in a lesser film than Whiplash.

The ending sends out the film on a strong note, as we see Fletcher finally approve of Andrews ambition and talent, as well Chazelles' direction really making the most out of Andrews' drum solo climax.

2. First Man (5)

Chazelles' first foray out of jazz/music and also his first that he only directs. First Man is a great film that has only resonated more in my mind ever since it first came out, as we see Neil Armstrongs' (Ryan Gosling) journey to becoming the titular man to reach the moon. There are many great moments in the film, but I'll start with the technicals once again.

The first being that the visual effects were VERY deserving of the Oscar win, as Chazelle knows how to simply make you believe that the space scenes really take place there. Both the moon and outer space really come to life in this film, and it is even more impressive when you realize that the film wasn't very expensive to make.

The action scenes are also very well-done. Take the opening "X-15" scene where we see Armstrong fly off the atmosphere and crash into the Mohave desert. That scene has a true visceral impact, as the editing and sound design really make you feel that you are right there with Armstrong. Not to mention the performance by Gosling himself which adds the human element and draws you in even further to the scene.

Speaking of Gosling, he is simply outstanding as Neil Armstrong. Although he is not quite a "chameleon" himself, that really shouldn't be a knock against him, he really makes a vivid character out of Armstrong. For example, the dinner table scene the night before he is scheduled to fly to the moon is a great moment for Gosling, as we see him tell his sons that he may not make it back. This could've just been a standard biopic scene if the film was in lesser hands, however, here Gosling lets us know how delivering this warning affects him internally.

The rest of the cast is also quite good, with Claire Foy as Janet Armstrong. Again, Janet could've been depicted as the typical housewife-in-a-biopic character. In First Man, we see many of the reservations that she has with the space program ("You're just a bunch of boys!") as well as her loving relationship with Neil himself. Kyle Chandler, Jason Clarke, and Corey Stoll are also good as prominent people that were involved in the NASA program.

Ah yes...the ending. Again, Chazelle truly aces the moon landing sequence, as the music and direction behind it make it feel almost like a dance, as we see Armstrong and Aldrin slowly land on the moon. However, what REALLY takes the ending (and the film) further is Armstrong leaving behind his daughters' bracelet in the crater. That scene is perfectly directed by Chazelle, as he doesn't shove it in your face, but still lets you experience what Armstrong is feeling, which is also enhanced by Goslings minimal, yet excellent performance. *Wipes tear away*

A truly great film the more that I think about it, and I get annoyed every time I see a lesser biopic, as First Man shows what can be done with the genre besides copy-pasting Wikipedia.

1. La La Land (5)

A truly wonderful film, that works as a great musical, but also as another version of Chazelles' "career vs. family/friends" thesis. This film fires on all cylinders, so I'll once again start with the technical.

I will admit that the film received way more Oscar nominations than it really deserved, however, I won't hold that against it. The cinematography is great in many scenes of the film, with special mention to the "space dancing" scene and many other scenes that take place in outdoor Los Angeles. One could say the production design of the film is really owed to location scouting of the area, however it does serve its purpose of illustrating the jazz music scene in LA, as well as showbiz. The costumes also do a good job of showing where the characters in the film are at in life, such as Sebastian dressing more casually in the beginning compared to the suits he wears at the end. 

The film is also quite funny in several moments, such as the "death glare" after requesting "I Ran",  the cutaway to the Prius car keys, as well as JK Simmons "You're fired" and his little smile at the end of the film. There are many great sequences and scenes in the film, including one I'll mention at the end, but these include: the piano solo, the dinner fight, the opening number, "City of Stars" (both versions), "Someone in the Crowd" and the dating montage in the middle of the film.

Past that, many of the songs are quite memorable and really work in adding to the film. Take "Another Day of Sun", which is quite the catchy song, but also lets us into the perspective of someone who is trying to make their dream come true. Take "City of Stars", which also goes hand-in-hand with the previous song of living a dream, and what it means to pursue it.

I haven't even gotten to the acting yet, which is once again terrific here. Emma Stone is luminous, funny, and charming to be sure, yet she is also heartbreaking in her main dramatic scene at the end of the film, which is most likely the scene that clinched her the Oscar for Best Actress. On the other side of the coin, Ryan Gosling is great in an old-school romantic leading turn as the struggling jazz musician Sebastian. He delivers the charm here and has a great handle on Chazelles' tone and script. Although his dramatic scenes didn't quite receive the same attention Stones' did when the film first came out, they shouldn't be handwaved, as he is great in showing how his jazz dreams affect him when it comes to his relationship with Mia (Emma Stone). 

Again,  La La Land is a truly great film that fully shows what can be accomplished with cinema, however I would like to conclude with the final montage of the film: the epilogue. In one of Chazelles' best directed moments, we see a perfect encapsulation of the film without seeming like pure exposition. We see the true "What If?" of the ways that Sebastian and Mia's relationship could've worked out if they hadn't decided what they did. There are many great moments in that sequence, such as the Paris shoot, the jazz solo, and best of all, the "homestyle" footage of the life that Mia and Sebastian could've had instead. Top that with the great arrangement that is, well, "Epilogue" and the film goes out on a very high note, not to mention the glance that Mia and Sebastian share at the last few seconds of the film, where they share the love they shared...and also the melancholy.

What is you favorite Chazelle film? Your least favorite? Answer off in the comments!

The Brothers Coen and their Films: Ranked

The one (two?) and only Coen brothers. From crime to westerns, dramas to thrillers, noirs and screwball comedies, the dynamic duo can do it all.

DISCLAIMER: Since this is the Coen brothers we're talking about, this list could change quite a bit once I get to rewatching a couple of the films. Or even just one of them

Anyways, without further ado...

Serious men.

Intolerable Cruelty (2.5)

Eh, for me, this is the only film of theirs where they feel "out of their element" (sorry). 

Clooney is actually pretty charming here, Cedric the Entertainer is solid in a supporting role, and a has a darkly funny death scene with Wheezy Joe. The rest is just a forgettable screwball comedy that doesn't even feel like a true Coen brothers film, and it's worth noting that the ending isn't even memorable, as that is something the Coens are simply masters of.

The Hudsucker Proxy

Some good production design, and a couple of good performances by Robbins, Leigh and Newman, however the film feels like a swing-and-miss by the bros, since you'd think the screwball comedy would be right up there alley. The ingredients are there for an enjoyable outing, but the execution is off. Not without merit, but really just forgettable.

The Man Who Wasn’t There (3)

This one I'll admit does have a great performance by Billy Bob Thornton and GREAT black-and-white cinematography, but unfortunately, the dryness of this film just didn't do it for me. I honestly do feel a little bad for ranking it this low, but as I mentioned earlier, a rewatch could improve things for me here. Not quite my tempo, but the last thing I'd call this film is "disposable."

Miller's Crossing (3.5)

Another film I ought to re-watch. The Coens really create a good sense of atmosphere, and the acting across the board is pretty good. I don't remember the story itself being all that vivid (and even a bit bland) the first time I saw the film, but again, a re-watch is in order soon. Good production design though.

Blood Simple

A solid debut by the bros. Getz isn't great as the male lead, but the performances by McDormand, Hedaya and especially Hedaya really elevate the film. One can really it as a precursor for one of the Coens films that shows up at the bottom of this list.

Hail, Caesar!

Maybe a "light" one for the bros, but if any of them can pull off a good love letter to Hollywoods' Golden Age, it's them. Everyone in the cast really gets their time to shine, with Ehrenreich, Swinton and Fiennes among the standouts. McDormand, Hill, and even Dolph Lundgren are memorable in their cameos. Some truly great scenes, such as the religious leaders, "would that it were so simple?" and Mannix slapping some sense into Whitlock in his office.

Billy Wilder would've been proud.

True Grit

I don't like the film as much as others may do, as a couple of the performances are rather "eh". Steinfeld I think is solid though, and Barry Pepper is quite memorable in his cameo, and I kind of wish he had Damons' part as well. Nevertheless, the film is watchable enough and has truly great cinematography, with the action scenes being quite entertaining. The film just didn't quite come to life for me, but there's still some entertainment here.

Burn After Reading

Reaches higher heights than the film right above this this one, mainly due to John Malkovich, J.K. Simmons and especially Brad Pitt. The story does feel a little uneven, but boy, Pitt really elevates a lot of it. A fun film, and I'd like to see Malkovich and Pitt reunite with the Coens one day.

The Ladykillers 

One of their most underrated?

Seriously, although I haven't seen the original, I thought this was a funny film about a group of robbers who meet their biggest match yet. Hanks is a delight to watch as the charming yet scheming ringleader, the other criminals are quite memorable (especially Wayans and Simmons) and Irma P. Hall as the "villain" who starts to catch on to the boys. Not a bad choice for a film to watch on a lazy Sunday afternoon.

A Serious Man (4)

As one of the reviews about the film said when it first came out, this is the type of movie that you get to make after winning the Oscar. The brothers really make a fascinating film here in their adaptation of the book of Job, as it manages to be darkly funny while holding enough dramatic weight.

Michael Stuhlbarg is a revelation in the lead role, the rest of the family is funny whether their roles are small or large, and the film has great production design that goes hand-in-hand. Also, I really like the ending for the film, and I'd even consider that amongst the best of the Coens, which is saying something.

Raising Arizona 

Another fun film from the early days of the bros. Nicolas Cage is a hoot in the lead role of Herbert and would prove to be a sign of things to come for the then-young actor. Holly Hunter is good as well and strikes up quite the chemistry with Cages' character. The story and the ending are even rather moving, as Cage and Hunter really pull you in with their desire to raise a baby, despite their "unorthodox" methods of trying to do so. 

The Big Lebowski (4.5)

The cult classic to end all cult classics. A parody of 40s/50s neo-noir films, the Coens deliver with a very quotable sendup of those films. Jeff Bridges is great as his most iconic character to date, John Goodman is a riot in the intense, yet moronic Walter Sobchak, and the rest of the ensemble is also great in just illustrating the criminal underworld of Los Angeles.

One thing I want to mention that I love about the film is that Walter is proven to be correct about everything in the main mystery of the film, where one could've easily just shrugged it off as Walter rambling. The film also has many great scenes that are still quoted heavily twenty years later: anything with Donny, the final showdown between the boys and the nihilists, confronting Larry, the dream sequence, "I hate the Eagles", "Mark it zero!" etc.

*Watches film again* Wait...is that David Thewlis?

O Brother, Where Art Thou? (4.5)

One of the best road trip movies out there, the Coens hit a home run with that genre in this comedic sendup of The Odyssey (who claim that they've never read it.)

Clooney is quite good here as the leader of the runaway prisoners, who probably doesn't use 100 percent of his brain, along with Tim Blake Nelson and John Turturro rounding out the prisoners. The soundtrack is also quite memorable, as is John Goodman (among others) in the rest of the ensemble. As much fun as the film is, the film is also quite moving in its more dramatic moments, with the highlight being the prisoners crying before they are set to be hanged at the end of the film.

The Ballad of Buster Scruggs (5)

You want comedy? The title character can help you with that. You want a contemplative drama about show business? Maybe the journeyman Impresario and his "meal ticket" know a thing or two about that. You want to see someone get lucky out on the gold trail? Well, The Prospector wishes the same.

A wonderful smorgasboard of what the Coens have to offer, and you could look at is a "greatest hits" of sorts for the Coens' filmography, as you could see why they are great as they are in this anthology film. Once again, the cinematography for each segment is outstanding, along with a great ensemble (shame no one got praised in awards season, although that seems to be the case with anthologies.) The film even achieves quite a bit of heart with "The Gal Who Got Rattled", as the brothers once again prove they're quite capable of anything.

Inside Llewyn Davis

One of their most introspective films, the Coens treatise on the folk scene in New York's Greenwich Village is a film that's grown a lot on me, and I already liked it the first time around. Oscar Isaac is a revelation as the title character, as he walks a tightrope between being a jerk and making the character watchable, which is as difficult as it sounds.

As per usual for the Coens, the technical aspects of the film are great, with Delbonnel not skipping a beat as Deakins replacement this time around (especially with some great shots in the road trip section of the film.) Besides Isaac, everyone else in the film is memorable, with John Goodman as a grizzled, yet funny jazz musician, Adam Driver as a hilarious backup singer, and F. Murray Abraham as a dry-as-toast music executive.

Barton Fink 

Although this and Inside Llewyn Davis are about neck-and-neck for me, this is a terrific film that gets better the more I think about it. There are many things that are simply excellent about the film. Take the production design, which is the best you'll see in any film, as the hotel is downright eerie and claustrophobic, compared to the pristine look of the studios and Lipnicks' mansion. This provides a great contrast between Finks' writers' block and the suits that just want boxing picture from him.

Take the acting, where Turturro and Goodman deliver career-best performances as the frazzled playwright Fink and the friendly-at-first-sight "Charlie Meadows". Michael Lerner also makes the most out of his mile-a-minute spewing Jack Lipnick. And of course, Steve Buscemi as the bellhop.

Take even the ending, which is actually quite perfect in my mind, as we see Fink take a breather from the hell that he gets trapped in: having to write films that won't get produced, as well as the hotel.

A great all-around film on all fronts.

No Country for Old Men

A true masterpiece in my book, even though it took me quite some time for me to arrive to that conclusion, as I recall feeling a bit cold when I first saw it.

Javier Bardem is downright chilling as Terminator-meets-Hannibal-Lector hitman Anton Chigurh, as just his mere presence suggests that everyone in his path will meet an unfortunate fate. Josh Brolin is a revelation (the Coens have a knack for that don't they?) as the "action hero" Llewelyn Moss, who gets WAY more than he bargained for when he finds a bag of money out in the desert. Tommy Lee Jones is also great, as the humorous, yet pensative Sheriff Ed Tom Bell, who attempts to track down Moss and protect him from evil. Everyone else in the cast ranging from the sardonic Carson Wells (Woody Harrelson) to the brave Carla Jean Moss (Kelly MacDonald) is also great.

One thing I love about the film is how the action scenes in the film are directed. The first example is when Moss is discovered by men who are looking for the bag of money and Moss runs into the river to escape from the men. It's a great piece of more overt action.

The second example being the main chase scene between Moss and Chigurh, which is a perfect combination of intensity (Moss waiting in the hotel room while Chigurh is in the hall) as well as overt action once again (the two of them chasing each other out in the streets).

As you'd expect from Roger Deakins, the cinematography is excellent, as the film has many great shots of the Texan country, while still creating a sense of dread in the more urban scenes of the film.

Lastly, I'd be remiss not to mention the ending of the film, as we see Sheriff Bell recount a story that goes hand-in-hand with the plot/theme of the film. It is well-delivered by Lee Jones, yet rather haunting.

Fargo

I could honestly flip between either of these films, and it would pain me to deny the other spot.
Anyways, the Coens show why they are the masters, as the dark comedy genre is one that is very hard to pull off.

Once again, the acting is great, as we see Marge Gunderson (Frances McDormand) unfoil a kidnapping plot that could not have gone more wrong, orchestrated by Jerry Lundegaard (William H. Macy). The criminals played by Steve Buscemi and Peter Stormare are also very funny.

What I think makes the film really great however, is that not a single scene is wasted here, and even has a great detail added to each of them. Take for example the first scene where Lundegaard meets with Carl (Buscemi) and Gaear (Stormare). We see the beginning of the plot being laid out, but what I love here is that Carl and Gaear are already annoyed that Jerry was running late. This provides a great payoff when they decide to go AWOL later on in the kidnapping plan.

Take the lunch with Mike Yanagita scene. Although it can be taken as superfluous at first glance, it actually proves to be the scene where Marge starts to second-guess her first meeting with Jerry. It's outstanding screenwriting, where the Coens rightfully won their first screenwriting Oscar.

Of course, the films' cinematography is...you guessed...it great, as all of the outdoor snow scenes are terrific. However, a technical aspect of the film that stood out to me more on rewatch is the score by Carter Burwell. It is excellent work that amplifies both the comedy and the dramatic intentions of the film.



What is you favorite Coen brothers film? The least? Answer off in the comments below.

Quentin and his Films: Ranked

Quentin Tarantino is one of the most famous auteurs in the film industry, and I'd say that his name alone is a brand itself. From working with the biggest current stars in Hollywood, to character actors from the past (and everything in between), it's no wonder that seemingly every thespian is lining up at his door for a role in one of his films.

Before OUATIH starts to make some noise during awards season, let's look back at his filmography before he decides to hang up the camera at 10 (supposedly).

Side note: Does anyone actually know what's going on with him and Star Trek?

"For the last time, I'm not going to tell you what was in the briefcase!"

10. Death Proof (2)

It's easy to see why this film isn't really talked about nowadays outside of...probably Tarantino himself, as it's really just a bore. The film just goes on and on with conversations about working in the industry that isn't really interesting. What's worse is that I couldn't tell you an exact line of dialogue off the top of my head, and that's with me having the seen the film recently. The purposefully-dated cinematography isn't bad, although I don't really think it added anything to the film. The cast does what they can with their roles, I'll admit.

With that said, Kurt Russell is pretty good as a maniacal stuntman, and the action scenes are well-done to be sure. Otherwise...eh.

9. Jackie Brown (3.5)

I'll start off by saying that the film has quite a fine cast, with Pam Grier in a comeback role, Samuel L. Jackson as the villain, and De Niro, Tucker, Keaton and especially Robert Forster solid in supporting roles in the cast. I also do like the general story of the film, as we see the title character attempt to get the best of Ordell Robbie (Jackson) with a bag of smuggled money. And it's also interesting to see Tarantino directly adapt someone else's material.

However, the film never quite comes to life as I think it intended to. Not that it's boring, but I just never found myself quite thrilled by what's going on, as directed. I think this is an okay film, so I'll just leave it at that.

8. Reservoir Dogs (4)

A fine crime thriller from Tarantino at his first turn at-bat. The film follows a group of criminals that attempt a bank heist that suddenly goes wrong, and then try to figure out who the mole in the group is. Once again, Tarantino assembles a good cast here, with Harvey Keitel as the leader of sorts from the group, the "professional" criminal played by Steve Buscemi, and our audience surrogate in Tim Roth.

I like the tension in the scenes after the heist where they attempt to weed the mole out, as we really just get to see how differently criminals react in this type of situation. As in, some just want to make off with the loot, some want to get dirty to get whatever information they want, some really do look out for their men, and some...just don't make it.

7. Django Unchained (4)

A good revenge action film. Tarantino creates some really great scenes in this film, with particular attention to the iconic glass-breaking scene. Again, the film has a terrific supporting cast, with Dicaprio as the plantation owner Calvin Candie, Christoph Waltz as the "polite" bounty hunter, and Samuel L. Jackson in an underrated turn as Candies' loyal house slave. The action scenes are also solid here.

I think Jamie Foxx is decent in the title role, however I can't help but feel if someone else in that role could've brought the part and film to greater heights. I also want to mention that most of the third act is messy, as it feels like it lacks structure. Nevertheless, it is an entertaining film.

6. Once Upon a Time in Hollywood (4)

Tarantino's love letter to Hollywood. Dicaprio and Pitt both give great performances as fading actor & stuntman Rick Dalton and Cliff Booth respectively. It's quite amusing to see Dicaprio play that type of actor, since the man himself is the one of the very few safe bets working in showbiz right now and could get anything he wants greenlit. It's also great to see Pitt play the "more than a brother, less than a wife" friend to Dalton, and I'd consider it one of his best late-career performances.

Besides that, Tarantino does a great job in recreating late 1960s Hollywood, as the cinematography, costumes and production design are both quite great. I'd also like to give credit to Tarantino himself, for showing some restraint given that there were many concerns when it was announced that he was going to make a film about the Manson murders.

That said, I do think the film itself could've lost about twenty minutes, as quite frankly, several scenes are gratuitous and longer than they needed to be. The narration doesn't quite work, and Robbie as Sharon Tate could've at least been given more to do to make up for the scenes that take are pretty long. Nevertheless, I'd consider the film to be pretty good, and I'm pleased to see it's doing pretty well financially.

5. Kill Bill Vol. 2 (4.5)

A slighest of margins between this and Volume I, but I'll rank it here right now. The quieter of the two films, I find Vol. 2 to be an effective end to the journey of The Bride, as we root for her to get what she wants, only for it to no go the way she expects. Thurman is excellent here in the "reprise", as she is quite good in her more dramatic moments. Michael Madsen is great here as he usually is with Tarantino calling the shots, and David Carradine goes above the call as the titular character. Maybe a little less remembered than Vol. I, but still a satisfying conclusion.

4. Kill Bill Vol. 1 (4.5)

The more action-y of the two, Vol. I is a very entertaining revenge film with Uma Thurman great as The Bride as she faces off against several enemies who were involved in some way with loss of her child. Tarantino really embraces the style of martial arts films that he quite loves, and it works in adding a lot of vibrancy to the film, as he does manage to make his own mark on the genre. Very honorable mention to the main action setpiece at the end of the film, as we see The Bride dispatch more than several enemies at a house in Japan.

3. Inglorious Basterds (5)

Tarantino's WWII film, with some revisionism of course. Tarantino really achieves in making an entertaining thrill ride, as we see him tackle a "What If..." in regards to an assassination of Adolf Hitler. The film has many truly great scenes, which have earned their place in popular culture.

Scenes such as the opening, where we get to see how charmingly evil Colonel Hans Landa is in regards to his methods (Christoph Waltz in an Oscar-winning turn). The bar scene, where the tension there can be cut with a knife and is gripping. The first main scene with the Basterds, where we get to see them how they handle a German who refuses to release pivotal information. The "demands" scene with Landa and Aldo Raine/Utivich (Novak), where we get to see Landa try to make off with some rewards after things are getting close to the end. Even the burning theater scene delivers on providing a proper climax to the film, which is one scene that proves that Tarantino does have a great eye in delivering his scripts to the screen. Not that he doesn't; it's just that it seems that he's viewed more as a writer than a director.

Anyways, the film is truly great, and also special mention to the film for introducing Michael Fassbender to American audiences.

2. The Hateful Eight (5)

A film that I really believe should be more talked about nowadays, and it may very well be Tarantino's most underrated. I have to give credit to Tarantino for creating a lot of tension in the cabin full of strangers that dominates the plot. The film never drags at any point, and I was always on my toes as to what was going to happen next.

The cabin itself has a great look and feel to it, and the cinematography is quite extraordinary in capturing the desolate exteriors of the snowy Wyoming mountains, while giving an "intimate" vibe to the cabin which goes against the nature of the strangers in the cabin.

Speaking of, the cast here is excellent. Samuel L. Jackson gives a great performance as bounty hunter Major Marquis Warren, as the man who tries to make sense of the suspicious behavior of everyone in the cabin. Kurt Russell & Jennifer Jason Leigh are both excellent as the hangman John Ruth and fugitive Daisy Domergue, in comeback roles for both. To round it off, Walton Goggins makes his film breakout as the racist, yet hilarious Chris Mannix, with many of the funniest scenes in the film belonging to him acting as the wild card. Demian Bichir, Tim-Roth-in-Christoph-Waltz-mode, Michael Madsen, and Bruce Dern all round out a pretty great ensemble.

1. Pulp Fiction (5)


Tarantino's best in my book, but I'll get out the few negatives out of the way. One of them is the scene where Fabienne just rambles on about getting a pot belly and...some other things I don't remember. It's a pretty tedious scene that feels that it never ends, and what's worse is that it is placed after a quiet scene with Butch (Bruce Willis), which creates a lull at this point in the film. Also, Tarantino isn't exactly Charlie Chaplin when it comes to actors/directors, as he's pretty cloying as Jimmie.

With that out of the way, I find Pulp Fiction to be a truly great film deserving of its status. All of the stories are great, and the nonlinear approach really works in adding layers/perspectives as to how we see the stories play out. Each of the stories deliver on their intent, whether it be the black comedy of an accidental murder or the tension of a man on the run who experiences "the weirdest f*cking day of his life". Even the one-scene wonder with Captain Koons (Christopher Walken) is great as we get to see what drives Butch to do what he does.

Past that, the cast is great on all fronts, with John Travolta resurrecting his career as the charismatic, yet careless Vincent, Samuel L. Jackson breaking through as his menacing partner Jules, Bruce Willis as the stoic boxer Butch, and Uma Thurman as Mia Wallace. The aforementioned Walken and the extended cameo of Harvey Keitel as fixer Wolfe Winston are memorable.

One scene that has grown on me over the years is the final dinner scene. It is one of the great moments in Samuel L. Jacksons' career, as we see Jules doing a 180 in terms of the way he approaches life, and it works as a perfect contradiction to his famous speech earlier in the movie. I just wanted to mention that.

What is your favorite Tarantino film? Your least favorite? Sound off in the comments below!

"Parasite" Spoiler-Free Review

...or How I Learned to Stop Worrying and Love the Rich

Bong Joon-Ho returns with a satirical black comedy thriller about a lower-class family who enter the household of a rich family and begin to work for them.

NOTE: Since the best way to go about watching the film is without knowing much about the plot, I will go ahead and be vague as not to spoil the film.

The Good:

- The cinematography for the film is fairly impressive, as the pristine look of the rich familys' house provides a great contrast against the slighly more grim aesthetic of the poor family's household. 

-The production design is top-notch, as we get to see a sense of place and history with both the houses of the poor family and the rich one.

-The acting all across the board is terrific, as all the actors are at the top of their game, with special kudos to Song Kang-Ho as the patriarch of the poor family. The rich family gets a tad less focus, but they are also pretty good, especially one of the parents.

-The score in this film helps to provide a great amount of black comedy, as it elevates many of the sequences of the film, particularly in the first half. Only some of the score was composed for the film, however, not a single piece is wasted in really adding to the tale of the two families. 

-An aspect of the film that I'd also like to mention is the editing, as it is dynamic work that knows when to lengthen or shorten a scene for effect, while also managing to know how to keep a solid pace as to prevent the film from dragging at any point.

-One could make an argument that the true MVP of the film is Bong Joon-Ho, as his directing here is a quite astonishing achievement here. I don't want to get into it too much due to spoilers, but I will say that his work here is comparable to Okja in regards to tone.

-Of course, Bong Joon-Ho is screenplay is also an achievement itself, as the commentary on socioeconomic classes, wealth disparity, poverty and more are all well-handled, while also infusing it with the perfect amount of black comedy to go along with the plot.

The Bad:

-Hhmmm...nothing major honestly. I think everything here was terrific.

The Ugly:

-As much as the film has stayed with me, I will admit that the films' nihilism might not be for everyone, as it could just rub people the wrong way due to the actions of several of the characters.

The Verdict:

Parasite is an excellent film, as Joon-Ho lets you see take the film in for yourself without holding your hand, as it delves into topical issues that are really going around everywhere in the world, while still being entertaining.

5/5