#92: GoodFellas (1990)

Oscar Winner: Best Supporting Actor (Joe Pesci)

When I think of the best directors in movie history, Martin Scorsese is always at the top of that list. He’s had some so-so films here and there, but it’s not from a lack of talent. As an avid film lover and historian, you know his heart is poured out into every film, so you always forgive his missteps and wait for his new one to release. He always seems to be at his best when it comes to gangster films and GoodFellas is no exception. It acts as the pinnacle of Scorsese’s style, preciseness and vision.

GoodFellas is the classic rise-and-fall story of the real-life gangster, Henry Hill, played by Ray Liotta. The movie follows him and his two pals, Jimmy Conway (Robert De Niro) and Tommy De Vito (Joe Pesci) as they climb the ranks of the New York mafia ladder in the 60’s and 70’s. As their fame and prestige grow, so do the murders, as they continue to adapt to the ever-changing climate of their trade.

Like other gangster films before it, GoodFellas gives you an in-depth look at how the mob operates. What makes it different is that its fast pace perfectly reflects the graphic violence and whirlwind nature of the lifestyle. Every scene and moment moves with a quick pulse, yet each one is truly memorable and builds upon the next. Having the knowledge that everything is based on a true story (Wiseguy by Nicholas Pileggi) adds to the shock of it all, but like no other film, you feel like you are getting an insiders peak that not even a documentary film could cover. Scorsese is the master of being innovative with his camera movement, use of soundtrack, and editing technique. With every swoop and cut, more and more depth is added to the characters.

Along with being a perfect movie technically, the acting is super. Joe Pesci has always been great at playing characters with a ferocious short-man syndrome, but here he plays a character so out of control that you get nervous anytime he appears in a scene. Robert De Niro’s character isn’t as up front as you would expect, but his acting chops shine through in his subtle nature of knowing that he’s not the main character in the film. Also, I think it’s a shame that Ray Liotta doesn’t get more credit for his role here. He’s likable and charming, yet provides the dangerous qualities that is needed for his tragic nature. In particular, I marveled at how well he did the voice-over narration, which is wound throughout the film so much, that with one bad inflection, it could’ve derailed the film.

I could go on and on about how well made the film is, but at the heart of it all is that it’s just flat out entertaining. It’s funny, suspenseful, dramatic… all the elements that make up a great movie. It’s crazy that at the time, Scorsese didn’t win the Oscar for directing or for best picture. Dances With Wolves pretty much stole everything that year, but Scorsese was finally awarded the statues for The Departed, which is great as well, but not nearly as good as this film. Perhaps the Academy was making up for past mistakes.

GoodFellas has always been a favorite of mine that I can watch over and over and not get tired of it. In short, it’s a perfect film. I give it 5 out of 5 pistol whips.

Watchmen (2009)

Who watches the Watchmen? I’m not sure, but I know you shouldn’t.

Although my wife teased me about it, I wanted to read the film’s original source that landed on Time’s All Time 100 Novels list. True devotees of the graphic novel should be enamored by the fact that the movie is a very, very true representation of the film. Unfortunately, the comic book dialogue and staging did not translate to the screen at all.

The film is set in a reimagined world where Nixon is serving his third term and America has won the Vietnam War. With America on the brink of nuclear war with Russia, a now banned group of superheroes, The Watchmen, come together once again after one of their own has violently been murdered.

I’ll get the compliment out of the way… Zack Synder knows how to appeal to the visual senses. Watchmen is a beautiful film to look at, but it’s too bad that Synder is way too in love with his style. Everything moves in slow motion… the dialogue, the action, the transitions, the story… to a point that the run time of 2 hours and 40 minutes feels like 3 hours and 40 minutes.

Jackie Earle Haley as Rorschach brings the only redeemable acting to the film, but the rest do a terrible job, especially Patrick Wilson and Malin Akerman (who I call the second coming of Cameron Diaz). I feel sorry for anybody who hasn’t read the source material, because I can’t imagine going into this film without any background on the story line. Synder completely forgets to intertwine the themes that made the graphic novel so adored.

I sat there feeling sorry for the people who watched this who weren’t “fan boys.” I myself felt lost and just not caring about anybody, so I really don’t see how anyone else could. Watchmen is a sloppy film that drags on just to showcase how innovative Synder can be with his camera.

I give it 2 out of 5 doomsday clocks.

Zack and Miri Make a Porno (2008)

Titles are a very important thing to a movie. This one alone made you decide to read the review with cautious curiosity or an expected shaking of the head. With sexual content right up there with The 40-Year Old Virgin and Knocked Up (if not worse), and the word ‘porno’ in the title, it’ll be hard to convince anybody to look past their barriers to see this film.

My stance is not to convince you to see this because frankly, you know what you can or can’t handle. I’ve been a fan of the controversial director, Kevin Smith, for a long time. Not so much because of his ability to write dialogue that even makes Tarantino blush, but because he adds a real-life feeling to his films that tackle hard-hitting issues like religion and homosexuality. Ok, not all the time (Jay and Silent Bob Strike Back), but he does always try to entertain.
Seth Rogan and Elizabeth Banks (both extremely good here) play long-time best friends and roommates who find themselves not being able to pay their bills. So what’s the simple solution you ask? They make a porno! Yes, Smith uses the set up to poke fun at the industry and probably provide a platform for jokes he always wanted to use, but he once again brings intimate and sweet moments to his raunchy world (which he’s done long before the Apatow crew became famous for this).

It sounds crazy to say this considering the context, but Smith, his core group of actors and the story are very reigned in, and in a way they have become adults who still like to have fun (especially compared to Smith’s Mallrats). Along with this and a scene that I think really demonstrates how important love is to sex and how it can go the complete opposite way when abused, this was a very funny, touching (no pun attended) and well-made film. Just make sure you pray and repent afterwards…

I give Zack and Miri 4 out of 5 awkward high school reunions.

Films Whitney Can’t Believe I’ve Never Seen- 8/20/09

There is a list of movies that my wife, Whitney, gasps at due to the fact that I’ve never seen before, especially being such a “movie guy.” Yes, they are often chick flicks, but they are ones that I somehow missed that the world did not. I’ll occasionally write a brief synopsis of these films that I finally took time to watch.

The Cutting Edge (1992)
A very campy movie that was way more fun than I would have ever expected. It’s one of those rare occasions where early 90’s cheesiness still translates to an enjoyable experience.

3.5 out of 5 Dorseys.

The Notebook (2004)
Although I was surprised by the lack of depth and mystery to the story, it’s one that is truly moving (yes some tears formed) and totally justifiable of being on EW’s 50 Sexiest Movies list. A guy will score major points for watching this one with their significant othe.

3.5 out of 5 dances with no music.

Some Kind Of Wonderful (1987)
In honor of John Hughes’ death, we watched this film. With a plot that is as thin as a sheet of paper, the 80’s nostalgic feel can’t save the film from Eric Stoltz’s constant whispering, Lea Thompson’s overacting, and lack of humor that usually carries Hughes’ films. Mary Stuart Masterson’s tomboy character is about the only thing that makes it worth watching.

2 out of 5 drum solos.

#93: The French Connection (1971)

Oscar Winner: Best Picture, Best Director (William Friedkin), Best Actor (Gene Hackman), Best Editing, Best Adapted Screenplay

The best way to describe The French Connection is a cat and mouse chase. Except for a few of the character-building scenes, it’s as if somebody is after another in some form or fashion. This characteristic provides for a movie that overall I wasn’t blown away by, but one that is heavily entertaining throughout. It’s a cop movie that has elements that are all too familiar, but I had to remind myself that it’s from 1971, so in reality it is the source of all the copycats we see today.

The French Connection perfectly embodies the launching ground of the anti-hero movement in 70’s film. The main character, Popeye Doyle (Gene Hackman) is a cop who is overtly racist and fights crime for the thrill of fighting, not for justice. With his partner Buddy Russo (the always good Roy Scheider) in toe, he comes across a heroin smuggling ring that may be his ticket out of sniffing petty drugs out of local bars every day. What follows are French crooks and mafia men who push Popeye’s temper and patience to a point where he tries everything to solve the case just because he can’t stand not solving a case.

Unlike most cop films, you find yourself not rooting for either side because you don’t want the chase to ever end. Friedkin’s direction is very spot-on and calculated, providing for shot compositions and transitions that are unforgettable. This movie is most known for its subway/car chase scene that still holds up today. It remains so raw and computer effects free, that you feel every crash, screech and near miss. Even more so, I think I enjoyed a foot chase between Popeye and the main villain, because it’s more mental in its suspense than physical.

It was hard to keep in mind that this film was revolutionary for the cop drama because there have been so many incarnations of Popeye Doyle since then (a more carefree Sgt. Riggs comes to mind). As a pure enjoyable ride, it hits all the marks, but it forgets about its themes too often until the last shot. The ending is about as bleak and surprising as one you’ll find, but I wished that was strung throughout the film more. It just comes off more as a blockbuster to me than an Oscar winner.

Still, I feel like The French Connection is one of the more accessible films on this list. I give it 3.75 out of 5 subway chases.

Gran Torino (2008)

Despite his legendary status, I have not seen many Clint Eastwood films. I’m more familiar with his current work as a director than his spaghetti-westerns back in the day. So, as an acting swan song, he’s left his iconic image with what my wife put so well as, “A made-for-TV movie that looks really good.”

Eastwood is Walt Kowalski, a Korean war veteran stuck in a Detroit neighborhood with every ethnicity but his (think of an elderly Dirty Harry). Facing loneliness for the first time and children who just don’t give a damn about him, he reluctantly meets his Chinese neighbors after an act of gang violence. He’s faced with overcoming his racial mindset as he learns to stop cursing at life and finally become connected to the community that has left him far behind.

I’ve heard Eastwood is one of the fastest directors when it comes to shooting and making a film. Part of that is taking a screenplay as is (this is unheard of) and shooting 1 to 2 takes for each scene. This method isn’t recognizable in his Million Dollar Baby and Mystic River, but he couldn’t get away with it with this one. It’s a good story that just needed a little more tweaking and maybe just a few more takes from an inexperienced supporting cast.

At times scenes seemed too clunky and cheesy, but also have times where it’s very dramatic and actually funny. It feels odd to laugh at this old crotchety man, especially with his racial slurs that never let up. Eastwood pulls it off though by giving heart and depth to a character that I unfortunately still was not pulling for at the end. You see the transformation in him, which is commendable, but it never apologizes for his racial thoughts that never sat too well with me.

I would put Gran Torino in that category of a good movie, but you aren’t missing anything if you don’t see it. I give it 3 out of 5 “Get off my lawn” growls.

The Ugly Truth (2009)

Here is a movie that the previous film that I reviewed, (500) Days of Summer, is 100% trying not to be… A romantic comedy that is clichéd with circumstances and characters that probably would never exist. Yet, The Ugly Truth uses the well-known formula to form a worthwhile theater-going experience.

The Ugly Truth takes a curve around the PG-13 rating for R-rated material that never steps close to the raunchiness of Apatow films, but has just enough blushful moments to appeal to the Sex and the City crowd. Gerard Butler (from 300 fame) is Mike, an alpha-male TV commentator who gets picked up by a desperate Sacramento news station despite disapproval from its high-strung head producer, Abby (Katherine Heigl). Obviously, Mike and Abby don’t see eye-to-eye on things, but the two draw close as Mike uses his extensive knowledge of the male ego to help Abby land the guy of her dreams.

This was a movie that was way better than I expected, nor was it anywhere near great. It’s most likely to get lost amongst the slew of rom-coms that are out there. Butler and Heigl’s chemistry is lacking a bit, but it’s mainly due to the script, not the acting. The R-rating will probably drive off a lot of viewers, but I almost appreciated the fact that it was taking a chance with the material; versus skirting around the issues like PG-13 films do… too bad it was for the most part unsuccessful.

I give The Ugly Truth 3 out of 5 badly hidden Scottish accents.

(500) Days of Summer (2009)

Everyone has had that breakup where all your thoughts, expectations, and desires have been shattered without warning. If it’s not a breakup, everyone will face, at one time or another, a moment in life where everything you once thought and believed is crushed. It’s a tough time in life, yet a pivotal one, that can make or break somebody. A film hasn’t captured that feeling so well like (500) Days of Summer.

Billed as an anti-love story, first-time director Marc Webb innovatively tells the story of the fruitful beginning and ultimate demise of Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel). Don’t worry, that isn’t a spoiler. The film flips back and forth to pivotal moments of the two’s relationship to give context to the question, “Why?” There are some very out-of-the-box moments that are truly innovative, smart and entertaining that poke fun at the clichés that movies make us think that are reality… i.e. that you must have that special somebody to feel complete in life.

Unfortunately THERE ARE some clichés in this film that don’t quite make it perfect or as innovative as Eternal Sunshine of the Spotless Mind, but it was still a breath of fresh air to sit in a theater that was showing a film that was entertaining throughout, very original, had great performances, and one that I know I want to see again. You connect with a very emotional feeling to this film, but it gives you leverage to laugh at both yourself and the characters. Please go to the theater and support independent films like this one before more brainless blockbusters overtake it.

I give (500) Days of Summer 4 out of 5 Hall & Oates hits.

#94: Pulp Fiction (1994)

Oscar Winner: Best Original Screenplay (Also nominated for 6 other categories)

A Royale with cheese… the big brains on Brad… Honey Bunny… the twist contest… the soundtrack… Ezekiel 25:7… The best way to describe Pulp Fiction is by one word… Cool. Even if the language, violence and drugs that appear repulse you, one has to admit that Quentin Tarantino’s film oozes with Cool.

This is one of the films on the list that I had seen many times, mainly from my time in college, and it still holds up today. It’s now historically known as the movie that brought independent film to the forefront. There are so many memorable scenes and quotes that it’s almost overwhelming. For better or for worse, there are images and moments from this movie that will stick with you for a long time, and to me that is one of the elements that makes a great film.

Pulp Fiction is an ode to the inexpensive fiction magazines that were widely published from the 1920s through 1950s. It tells four original tales that involve gangsters, a boxer, and rather chatty robbers that all connect in someway. The viewer is never quite sure what to expect because everything is intertwined in a non-linear fashion, which was very new and original at the time. The stories almost abandon any sense of theme or purpose, but dive headfirst into a world that you know exists, but one that you don’t want to admit does. You just have to accept that this world that Tarantino has created is pure entertainment and as uncomfortable as it is, you have to sit back and enjoy.

What particularly stands out is the performances and the dialogue. The movie practically made Samuel L. Jackson and Uma Thurman a household name and John Travolta should still be paying Tarantino some compensation for revitalizing his career. Also, the verbiage used between the characters is so unique and clever, but at the same time captures how two people talk to each other. You feel as if you are spying on somebody’s conversation versus hearing a movie script. By blending this innovative, yet real-life conversation with dynamic chemistry between the actors, Tarantino created a world that filmmakers have been trying to recreate since.

The only downfall of this film is the middle story, following Butch (Bruce Willis). Besides for its very funny opening with Christopher Walken and its fury of an ending, it’s boring and way too long with a pace that is not like the others. Still, that segment wasn’t enough to keep it from being nominated for Best Picture in 1994 with an amazing class; Four Weddings and a Funeral, Quiz Show, The Shawshank Redemption, and Forrest Gump (which won).

There was a huge outcry when it didn’t win, especially because it won the prestigious Golden Palm award at the Cannes film festival. I think people must move past that because Pulp Fiction made a huge impact on pop-culture and changed the way the studio system looked at independent films. Which to me is a bigger legacy than receiving the coveted recognition.

I give Pulp Fiction 4.5 out of 5 briefcases.

The Times of Harvey Milk (1984)

I heard about this film way before the heavy Oscar-nominated film, Milk, came out this past year. Before I saw that one, I wanted to see the non-Hollywood depiction of the man who became the first openly gay politician elected to a high office. This film was in my Netflix queue when I first heard about it on my favorite podcast, Filmspotting. From time to time the two hosts have marathons, and they discussed this Oscar winner when they had a documentary marathon.

If you’ve ever seen an older documentary, they have such a different feel than the fast-cutting, hard-hitting, propaganda-filled docs of today. Don’t get me wrong, the filmmakers here had an agenda, but this ’84 film is more of a recapturing of a pivotal moment in history, with a remorseful feel rather than a bitter one. Although Milk’s name is in the title and is definitely the center focus, it didn’t feel like a bio-doc as much as a capturing of the essence and feel of the gay-rights movement in the politically charged San Francisco in the late 70’s.

Harvey Milk was very interesting and his eccentric but well thought out persona provides for a compelling look into this man, but what hit me the most was how up to this point in my life, the pivotal movements of Milk’s political goals had been unknown to me. The reactions and events that occurred due to Milk’s election into city council were not just revolutionary for the gay movement, but in a way defines the strife that was occurring in America at the time. The fact that this information was absent from my high school history books astounds me.

To see Milk’s impact on people is worthy enough to see this film, but honestly I wasn’t blown away by this documentary. It does a wonderful job of capturing a man and his impact, but you are left wanting to be challenged a bit more. It had more of a History Channel feel to it than a film, but I will continue to suggest it to people. I think it would help people see that there is more to the issue of gay rights than the current issue of same-sex marriage. Will the movie change a person’s thoughts on homosexuality… probably not. I do think that the film could at least make people think out of the box more, which is always better than nothing.

When I see Sean Penn’s portrayal, I’ll let you know if you need to see both, or one over the other, but in the meantime, I give The Times of Harvey Milk 3.5 out of 5 Twinkie defenses.