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Film
Prophet's Movie Reviews Page 4
Young Frankenstein (1974)
Starring Gene Wilder, Marty Feldman, Teri Garr, Peter Boyle, Cloris
Leachman, Madeline Kahn
Film Prophet's Review...
The grandson of Victor Frankenstein is a science professor who has an
unlikable reputation because of his grandfather's past odd work, then he
inherits his grandfather's castle in Transylvania where not only a
hunchback Igor and a pretty lab assistant is found, the old lab
equipment is also there. It is when he enters the private working area,
he becomes absorbed and penetrated to repeat his grandfather's famous
experiment to recreate the Monster. "Stand back for the love of god he
has a rotten brain!" Director Mel Brooks makes a lot of hilarious spoofs
and Film Prophet goes on the record that this movie is his best film as
it is not a fast or slow slapstick comedy. He uses raw outlines as most
of the jokes cover a specific range, sparkling impressions with great
sets that optimize open space, and hides that there is more to the story
which builds a tremendous stride during the movement of the story. In a
parody of all Frankenstein movies, it balances the comedy, seriousness,
and the sheer menacing tone. The atmosphere of the movie is totally
fantastic because it was shot entirely in a crisp black and white
cinematography and the performers, including Gene Hackman in a minor
role, made it feel as though it was really filmed in the forties. The
acting was sincerely genuine at its finest where they established a real
comedy making spoofs on its precedents. A comedy with stupendous acting
can be done, a phrase that is rare to be seen today. The movie did not
have nor need fast action, deaths, impossible stunts, unordinary and
outrageous acts, or reprisal traits to entertain and it still grabs the
viewer's interest. It's just the few characters who have development
time as the story is concentrated around them. Gene Wilder, who owns
among the top comedic performances here as Doctor Frederick
Frankenstein, shows his versatility in his dialogue and it was
incredible. He brought out the best the movie had to offer and he
complemented every scene he appeared in while the audience will believe
in his performance and the story. Sometimes the funny moments won't make
the viewers laugh all the time, but the acting sells it at the point
where it is laughable and it stills holds the aftermath carefully. There
are clean and amusing lines that work on a visual level too because of
the acting. "I thought I told you never to interrupt me when I'm
working!" Every time Igor speaks to the doctor, it is bound to be a
humorous quote for comedy relief. The movie improves on a consistent
stage minus the first and final few minutes as the dialogue is packed
with immense quotes - Ixnay on the ottenray - as the movie is beyond
amazement.
Final Grade: A-/B+
The Hitchhiker's Guide to the Galaxy (2005)
Starring Martin Freeman, Sam Rockwell, Mos Def, Zooey Deschanel
Film Prophet's Review...
Book one from the six book series states that humans are the third most
intelligent species and dolphins are second as they've been trying to
communicate to humans about the destruction of Earth, according to the
story. It is undisclosed who is the most intelligent until the end. The
movie starts where dolphins begin singing utterly bad like they have it
all figured out and this creates a strange atmosphere... in which this
is the only steady aspect of the movie. Humans are insignificant to
other species on Earth is hard to comprehend at this age as not one
casting member shined as this is done on purpose because man is just
average and knows little about the galaxy. However, the jabber can be
expected by the chaotic beginning where bulldozers arrive at Arthur's
house and the next thing he is vaporized, leading to a journey attended
to be hilarious in an imaginative, but unresponsive comedy. The
filmmaking is absurd with the bizarre CGI creatures and other visual
animations to stun the human characters, but the real problem is the
facts from the book come through a narration only and this experience
Arthur faces in the galaxy is really nothing. Knowledge comes in a
computed sounding voice with boring diagrams in an animated slide show,
but since the information is presented like that, it would be better off
to actually read the book instead. Anytime the narration starts again
with its 'suddenly out of all probability' tagline bestows to aggravate
the audience. The movie didn't present enough entertainment to the
audience and it seemed all the unrealistic, supernatural elements were
too much too handle that revolved into no contentment, especially if one
is not familiar with the novels, but in a movie perspective, it aimed at
the wrong target. The message is boring and non-educational where things
are not always as they seem while afterwards, one hasn't learned a
thing. The film doesn't send any real data of understanding that will
trigger off as an afterthought, a technique that serves in great movies.
The rest of the movie contains non-sense sequences that aren't important
while Director Garh Jennings also had many scenes that went no where and
made no sense out of the story with any continuity in the plot. The
action is sparse, the trailer was terrible, Arthur is dimwitted in the
movie, and at odd times, there were immature and uninteresting mild
funny gags that never resulted in a giggle. Zooey Deschanel and John
Malkovich were the lone bright spots. Adapted novels don't always work
on the big screen as fans of the series know it could have been better
portrayed. Some things are hard to follow while the story easily becomes
edgy and disconnected where it loses the complete message.
Final Grade: C-
Spartacus (1960)
Starring Kirk Douglas, Laurence Olivier, Jean Simmons, Charles Laughton,
Peter Ustinov, Tony Curtis
Film Prophet's Review...
Spartacus, Douglas, a fearless, heroic, and poised icon in movie story
telling, is a slave gladiator inspired by his love for a beautiful slave
woman where he leads a rebellion of slaves against the Roman Empire.
Spartacus has a dream of freedom, which is pitted through his slave army
where he rises above degradation of love, leadership, and high ideals
over the ruler Marcus Crassus, Olivier. During the story, Spartacus is
sold to a wealthy head of the gladiator school who is given a female
companion, Simmons and he is trained and inspires the other slaves to
cheerless triumph. The movie establishes strong human spirit for freedom
in a way that few movies do these days and this hero tale is among the
greatest original historical epics, instead of the sold out Gladiator
movie, where Douglas easily beats out Crowe as the better lead actor in
the valiant role. Terrific casting and couldn't have been better choices
for the names above... all with powerful voices and a great appearance
from John Dall, who lived a short admirable stint at acting. The story
builds from the bottom and climbs up with advertently exciting scenes
that pinpoint and excel in everything the film wants to accomplish. The
fight scenes are realistic and come at the right amount of duration,
length, and action that aren't over the top, too many, and unnecessary.
The details on the characters such as the armies, slaves, and the Roman
Republic are coherent... the slaves have grueling tiresome work,
brutalized and uneducated, and are required to fight to their death in a
small arena for enjoyment in front of the free wealthy people, like
Julius Caesar. The slaves assist and care for fellow slaves, and get
whip for in in return from their master and in the end comes a
magnificent, moving event in the movie. The genius story telling
directed by Stanley Kubrick has stunning music and sound and creates a
magical composition of an inspiring film. Kubrick's timing and pace
according to the screenplay, written with some outstanding quotes,
sustain and hold a protagonist along the storyline and the scenes with
Douglas on screen are always the best to watch. There are strange
surroundings or situations where slaves don't know how to act. For
example, they undergo fierce training, also educational to the audience.
In one scene, two are pulled from a group of four slaves in a dark
cavern go out to fight to death for a small, private viewing and inside
the cavern is Spartacus and a black fellow, each quiet and what sounds
off is only the noise of the fight, and eventually they get their turn
to battle where Spartacus has his signature tiny sword against his
opponent's pitchfork, a clear disadvantage for Spartacus, and this scene
turns out to be a surprising, stellar ending... truly amazing. The
masters know their slaves and attributes as this is relevant where they
try to sell them where two women behind gates are expressed by a master
who are selling them off. The acting contains strong arguments and
momentum, something Oliver Stone's Alexander completely fell out of.
"Are you afraid to die Spartacus? - No more than I was to be born."
However, within the three hours of film come some extended, extra scenes
near the three-quarter mark, such as the marches and lectures before the
huge battle, still Spartacus changes the fate of his people. "All men
lose when they die... free men die when they lose the pleasure of life,
a slave loses his pain, death is the only freedom a slave knows...
that's why we'll win."
Final Grade: A-/A
The Interpreter (2005)
Starring Nicole Kidman, Sean Penn, Catherine Keener, George Harris
Film Prophet's Review...
Anytime a new thriller comes out these days, critics praise that it's
the most thrilling movie of the year on its commercial as if they've
never seen a movie before, except those quotes are lies, just like the
movie's characters in this story do, because not every thrilling genre
type of movie is the best of the year. In fact, Film Prophet says this
is a non-thrilling movie that proves to be dull with no thrills, making
it the least likely movie to thrill of the year. Kidman's character as
the interpreter is insecure, and the movie makes sure she is
occasionally frightened. Basically, her character throughout the whole
movie either lies or hides things and this makes a very unconvincing
script. In many scenes, a dreadful, unintelligent political talk begins
and then it leads to an unnecessary family question from no where such
as do you have a brother... maybe. Her character is getting too
prevalent lately in recent movies where she is alone, very clueless as
people try to help her gather more information. The story goes as
deception unfolds inside the United Nations, where an agent, Penn, is
assigned to protect an interpreter, Kidman, who overhears an
assassination plot, targeted by an African dictator, a poor old man as
the villain, a bad choice. The movie never shows any scene relevant to
her actually knowing information about it, which would confuse the
audience totally to wonder why people are trying to harm her and this
carries a vague questionable initiative that floats around with a
horrible conclusion. The movie also had a poor exposition where the
first scene hurried too fast and then the story settles and calms down
way too slow into extended scenes of middling talks between Kidman and
Penn as the first twenty minutes are full of bad one-liner questions and
answers, followed by various characters and sub-stories as well that
make no sense as it leaves the viewer out of the movie too...
immediately off the bat without a clear purpose of a story that one
won't really focus or care any longer. There were one too many
conversations about details in the character's backgrounds... one scene
thirty minutes within has Kidman speaking to Penn in a theater for a few
minutes as Penn was about to fall asleep as his eyes were getting
dreary. There were a lot of camera cuts with no significance behind them
and there's plenty of scenes where there are no talk and the suspense,
if there was any, was just silly, like the bus scene, as it's made out
to be an amateur directed film by veteran Sydney Pollack with a tier of
high profiled performers. They all didn't really try and put in effort
that reached their fullest capability... of course, blame the poorly
written story that no viewer can connect to. The script's plot was
complex where the dialogue wasn't and this is where the real thrillers
prevail over movies like these, but it is the slowest new movie in a
while. The main problem is nothing constructive goes on and too many
scenes had no value behind them. The movie had a lame attempt to throw
in some romance with such lines as - Please, I need to know you're
okay... It has nothing to do with you. It will rarely put anyone on the
edge of their seats, unless they are anticipating to the end to leave.
Final Grade: D
Bringing Up Baby (1938)
Starring Katharine Hepburn and Cary Grant
Film Prophet's Review...
The start of stardom soars in two different gender classes featuring the
most prolific movie performers of all-time, with an under-rated
director, Howard Hawks, in a start of wacky comedy movies. This movie,
not nominated for a single Academy award, is considered the most
inspired comedy film that contains average pace, comic material,
pitfalls, awkward situations, misunderstandings, and zany antics. An
unlikely relationship of two individuals, one a paleontologist and the
other is an impulsive heiress, forms after a dinosaur bone was taken
away by her dog as her leopard pet, named Baby, causes trouble for the
both of him. At the same time, Grant's character tries to get a million
dollars for his museum. Hepburn makes her character wild and eccentric
and he is romantically captured to her dumbfounded, old fashioned
character and attempts to prove her wrong in such areas like cars and
golf. During the story of unusual acts with mix-ups and crashes, it
shows how a pain animals are on a trail and simultaneously, humans for
misinterpreting vital situations of activity. Everyone has the
capability to come in to the film and afterwards, really like it.
Though, Film Prophet enjoyed the dozen final minutes and some other
scenes, there are slight enjoyable surprises in deficient of complete
attention to the movie, due to the poor character development and a
yawning non-progressing story that once it had moments of mind that
didn't last for more than a couple minutes at an instance. The
conversations were mainly about disagreements and arguments while the
story was not quite up to amazing standards. It wasn't integrated in
full pleasure or real laughable moments or lines, apart from the wacky
ordeals. Both Hepburn and Grant work the screen well enough like they
always do and institute their characters around an adverse script of
misadventures and mistaken identities where sadly a viewer will seldom
lose interest on and off with the story.
Final Grade: B/B-
Labyrinth (1986)
Starring Jennifer Connelly and David Bowie
Film Prophet's Review...
Fed up with her step mother and baby brother, Sarah, Connelly, becomes
frustrated and she wishes the goblin king, Bowie, would take her brother
away. Seconds later, she got her wish and immediately regrets her
mistake. In order to get her brother back safe at home, she must find a
way through a labyrinth maze beginning from her bedroom and ending at
the castle where her brother is before time expires and he becomes a
goblin. Sarah realizes all the tantrums and toys are nothing compared to
family and friends as she meets unlikely friends along the way and the
lesson remains throughout the film of taking things for granted. Back in
the fault to those childhood days, this one brings back memories from
what I remembered as a child watching it for first time. There were bits
of pieces in my head recently before I saw it again as the story wasn't
complete and I missed out on the details. I recalled how enjoyable and
fascinated I was with my first watch gripping on to what will happen as
she faces all kinds of struggles through the labyrinth maze and it still
was while putting this review together. The movie is a typical eighties
story teller with great camera views from inside the maze and mini
adventures that was a major fantasy success mixing human characters with
costumed puppet goblins. The creatures themselves, ranging from insect
fairies to talking worms, were genuine as they were created by director
Jim Henson. The characters and tension the plot lets out may be
incredible to young viewers because of the fact centering around evil,
the inherent ugliness of some creatures, and turning the brother into a
goblin may not rest well. David Bowie as the goblin king I didn't really
like as an actor, except for his couple songs he sung were cool, but I
kept picturing that his role should have been portrayed by an actress.
Looking back and watching the movie over, it's neat that Connelly, now
an Oscar winning actress, was the young heroine who had to manage to get
past all the paths and stipulations. The magic begins to work on the
viewers from Henson's design and David Bowie's music... most
importantly, the added talent of Connelly was awesome, charming, and fun
entrapping viewers with her riveting magnetism off the wonderful story.
Her performance was very believable in a not so believable plot of
course suited to the fantasy genre as an absorbing childhood fantasy
tale that lingers to be special.
Final Grade: B/B-
Nosferatu, eine Symphonie des Grauens (1922)
Starring Max Schreck, Gustav von Wangenheim, Greta Schroder, Alexander
Granach
Film Prophet's Review...
F. W. Murnau's German horror silent movie, which is considered the first
horror film, is the first and original tale adapted from Bram Stoker's
classic novel about Dracula to be shown on a motion picture that opened
the door for other stories relating to vampires to arrive later. After
the visit of Jonathan Hutter, Count Orlok follows him to Bremen shipped
by boat to the town and brings his plague for his obsession with
Hutter's wife. As old as it is, it remains scary because of the central
makeup of Count Orlok's figure, the mysterious distorted tentacle-fingered
bloodsucking baby stepping vampire possessing of absurd, weird behavior
who needs to "drink the blood of the young, the blood necessary to his
own existence." The Count's castle is isolated from villages and when Hutter travels to the place, it seems the villagers give little notice
about Dracula as they never feed him any knowledge or true warnings as
he is uninformed about his identity. The only trait are the books that
give him, his wife, and the audience insight about vampires. Divulging
the secretive strange life, there are sights of caskets, blood, victims,
and dazed people. The story does wander a bit strolling in pieces that
are unimportant to the actual tale and it gets a bit stretched, in
particular when the story uses plenty of unknown random people and when
a professor discusses how plants are like vampires becomes gross. Though
it's not a very long movie, the creepy performances, gothic sets,
expressionistic lighting, and visuals create such an uncanny mood.
The factor of the organ pipe music
sincerely captures the vibe of what the movie wants and assists the
whole sparkly black and white film. The great thing about this is that
the viewer will most likely be the only person watching the movie in the
entire world at the time, which is incredible and even more thrilling
that no one is alive from the making of this film. The dicey
unauthorized experimental film is less fatal, more on the ghostly
paranormal aging side haunting as ancient.
Final Grade: B+/B
His Girl Friday (1940)
Starring Rosalind Russell, Cary Grant, Ralph Bellamy, Gene Lockhart,
Porter Hall
Film Prophet's Review...
Careers get in the way of love as a top reporter's editor attempts to
stop her from marrying and to remarry him. The screwball comedy is a
particular example in film history that brings a new angle to films.
Grant is the star playing kind of a bad guy against a prototypical nice
guy and it was hysterical in the number of ways and times Grant set him
up to put him in jail for one evening so he can spend time with
Russell's character in the havoc journalist life, but it is Russell I
was more so moved by as she was very fun to watch. The story is both a
love story and a sophisticated battle of the sexes in the media. There's
lying, unethical news journalists starting false rumors who were all
lazy men and place bets while the one woman does everything and she is
smart at it. The tale gets into things rather quickly about imminent
marriage then manages to keep up with the slapstick raising loud
dialogue with character's exasperated looks. The dialogue is fast, smart
and funny and requires great listening so many people won't laugh as one
might endure as there is no break from the constant dialogue as some of
it will go over the viewer's heads. Not one Academy award nomination was
toward this film, probably because of the sound and quality. Directed by
Howard Hawks, it displays the furious life of a journalist and men who
would do anything for a story. Very well acted in skillful one shot
sequences as most of the movie is shot in one room... Grant's charisma
traps attention and its supported by a believable performance by
Rosalind Russell, who reminds me of Katharine Hepburn with more energy.
The movie is perplexing, fanatical, double crossing, sharp, busy, and
rapid quick to the lines in a fast pace of ninety minutes.
Final Grade: B+/B
I Know What You Did Last Summer (1997)
Starring Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe,
Freddie Prinze Jr.
Film Prophet's Review...
The movie is a super film to re-watch over and over throughout time
because the movie's most memorable scenes, which are found in about half
of the movie, daunt back on the viewer where they are stunning... the
balcony, the vacant locker room, "what are you waiting for," trapped in
a cop car... everyone will be surprised or re-surprised by this film
because they can't figure out what will happen next and the people who
think they have it figured out don't. The script had powerful one liners
delivered by Phillippe early on when their car ran over a guy during the
night and the confusion to what to do takes place is the most memorable
scene from any teen horror film. Four teenagers celebrating the summer
accidentally run down a man on the road. Not thinking straight, they
dump the body in the sea and swear to secrecy. One year later, they get
a note with just the movie's title written on it. Really perfect casting
to the film as they never have been better... in their stardom prime,
the charming and appealing protagonist quartet dreams are shattered
after the one year and it is interesting to see the changes from being
one year on top of the world to upsetting young adults. The audience
will want the quartet to win and battle the plot as the audience will
covet and fight for them. The key of the gripping movie is the
tremendous pacing and it keeps up the excellent drama and intensity
pumping adrenaline lasting though every... every scene. The screenplay
is terrific with a dose of irony as the group can't go to the police
because they've dumped the body in the sea before. The person who wrote
the note one year later turns out to be a killer wanting them dead...
teasing them in ways with no one around is to help or rescue them. This
one had it all... eerie tension and music, awesome camera angles, point
of views, a moving plot, a pinnacle ending... everything a frightening
film needs to have. Since this movie, filmmakers have tried to write
originals of contemporary teen life being scary as copy cat films have
failed. The unknown murderer is able to kill someone, sometimes
eliminating a potential killer guess, without leaving traces of blood as
the editing has some schemes to ignore those parts quickly. The quartet
begins doubting each other... "Julie gets her hair chopped off, I get
run over by my car, Heather gets a body in her trunk, and you get a
letter? That's balance!" The pure startling machine never falls to
stupidity of any character and the witty moments shine during the
fantastic plot.
Final Grade: B+/A-
Sullivan's Travels (1941)
Starring Joel McCrea, Veronica Lake, Eric Blore, Robert Warwick, William
Demarest
Film Prophet's Review...
The film is on the lines of a movie about a movie artist and the social
realism of the world satirizing Hollywood and sparing an entertaining
verbal slapstick comedy. Grasping on real ideas, Sullivan, McCrea, a
popular filmmaker who wants to make a movie that comments on the
Depression era seeks to go visit uncomfortable parts of the world to
gather ideas. "This picture is an answer to Communists. It shows we're
awake and not dunking our heads in the sand like a bunch of ostriches."
Away from the studio and the reporters, he desperately wants to make
destiny designed to meet life's lesser lessons. "I don't know where I'm
going, but I'm not coming back till I know what trouble is." After a
beginning of co-workers consulting and arguing, the next morning he
leaves dressed as a hobo with ten cents in search of problems that
confront the average man. He begins a remarkable travel alone to poverty
and policemen. Unfamiliar with hardships, he finds the lovely Veronica
Lake, an enjoyable asset to match with Sullivan acting as a hobo
improving on spot to the wannabe actress to start. Directed by Preston
Sturges, the story is an enlightening appreciation of the way things are
as the vignettes of Sullivan's travels get more serious in the last
quarter, researching and rediscovering the daily lives of the less
wealthy. Although, the mere weakness of the movie is its predictability
and the brisk chatter, the message that is a prototype to not only
films, but life in general opens up that will lighten the audience,
displaying several moods. The film factors in realistic camera angles,
such as the train scene, the study of human kindness and cruelty,
socialism, and of course, comedy relief. "Film is the greatest
educational medium the world has ever known."
Final Grade: B/B+
Charade (1963)
Starring Audrey Hepburn, Cary Grant, Walter Matthau, James Coburn,
George Kennedy
Film Prophet's Review...
A potentially thrilling romance turns into an upsetting dissatisfaction.
If a movie can't make one think and marvel or ensue to stay on top of
the story, it would be an awful, disappointing movie... example:
Charade. A woman returns to Paris to find her husband murdered and this
sets the tone of wonders and questions, except wonders and questions
hardly occur. The classy mystery has four men following her and the
beginning is not fully engaging as one would hope and imagine it to be.
What the movie has is two big, likable stars at the time in Grant and
Hepburn and they are supported by a decent group. What it doesn't have
is an excellent screenplay and camera work, fair character depth, and
strong music that would create a stylish mood. It came up short of
pulling in interest after the mediocre set-up and hurt the chances of it
being really special. For instance, the biggest events in the movie are
taken insipidly to elaborate a concern to the viewer that doesn't
discharge. There wasn't a backbone to the story and no, Hepburn wasn't
it because her character's personality, not her, was mildly dull without
a bottomless meaning to show heart. She was too sensitive and fragile as
Grant would just wonder around to feel important and add a charm in
being her bodyguard because she's helpless on her own. I waited for some
surprises or drama, but the movie dragged to scenes that didn't have
anything to do with the actual murder and went towards a poor romance
and even the story sometimes forgets the true point of the film. For
that reason, the viewer won't ever sense that she is in danger and it
lacks any presence of suspected villains. The non-memorable villains are
so minor that their roles are really cameos. Also, the color quality of
the picture was very lifeless and not vibrant... similar to the original
The Pink Panther movie, where most of the movie can be compared to this
one. There were numerous ditzy conversations and one liners that became
too tiresome. If the viewer can see pass Hepburn and Grant, he or she
would arrive at an uninteresting script.
Final Grade: C/C-
Sin City (2005)
Starring Bruce Willis, Jessica Alba, Mickey Rourke, Clive Owen, Rosario
Dawson, Brittany Murphy, Jaime
Film Prophet's Review...
"Don't scream." The story shifts to three pieces from the graphic comics
by Frank Miller as they all intertwine back to one night at a bar in a
fictional corrupt town that never sheds any daylight. The characters of
Rourke seek the murderer of a beauty and the beast one night stand,
Willis is a retiring cop who is framed, and Owen is tempted to kill a
rogue cop. It's always kept dark to add an effect to the cinematography.
It was black and white for a reason because the colors would contrast
like a glow in a dark sticker and cancel out any real gore if seen in
its fullest color. For any reason, sometimes color would show the
gorgeous eyes of Bledel, the color yellow of a face, red shoes and dress
and either outcome, the visuals will astound people. It is great to see
a film-noir style revived from the forties into a remarkable modern
cinematic film with technical animation keeping the voiceover narration
right to every word tying into the present status. "Walk down the right
back alley in Sin City and you can find anything." I would like to
stress the last word in that quote because everything and anything
exists in Sin City. The movie will be more fun if one knows many of the
performers in this film as the supporting cast are yet appealing, so
here's a list to mention - Benicio Del Toro, Elijah Wood, Michael Clarke
Duncan, Carla Gugino, Josh Hartnett, Michael Madsen, Alexis Bledel, Nick
Stahl, and Devon Aoki - not to mention, there are a whole lot of parts
that will make the viewer laugh. Most of the performers seize the
ability to send out raw tension and they all were awesome and
extraordinary as Rourke was a monster and a beast to mankind. The two
characters, acted by Wood and Aoki, who never say a word turn out to do
the most nasty things with killings of movement and instruments.
Relating to a no holds barred fight, there's plenty of scars, violence,
outbursts, women, youth, alleys, brutality, revenge, mean powerful men,
gore, prostitutes, backstabs, cannibalism, mobs... a man's movie if one
would mention. The men are bad and big - heroic or anti-heroic - and
about every woman is a beautiful whore and half of them have deadly
skills... there is no decency. The viewer will never know how long a
character will last, although the movie's bag of tricks are exposed from
the first few scenes, there were a dozen of ways to escape from a near
death situation or a way of killing that never have been shown on a
screen before this movie and it keeps anyone engaged. "It's time to
prove to your friends that you're worth a damn. Sometimes that means
dying... sometimes it means killing a whole lot of people.
Final Grade: A-/B+
Reds (1981)
Starring Warren Beatty, Diane Keaton, Maureen Stapleton, Jack Nicholson,
Gene Hackman, Paul Sorvino
Film Prophet's Review...
Warren Beatty has the leading role, he wrote it, and won best Oscar
director too for this movie on a true story of an American journalist
who is very passionate living in the time of the Russian revolution,
although no location shots were on Russia due to the cold war still
occurring. The film includes documentary on Russian theories, rallies,
and debates on the country's socialist control and the commentary is
done by elders behind a black background who lived and knew the
journalist couple. They explain the causes to the revolution as the
movie continues to unravel the love couple's story in the time of
journalist John Reed and his wife witness the Russian revolution. The
economy and people who agree or disagree with it covers the citizen's
opinions to the journalist as the point of view of the story. The
interviews by documentary adds comments that's nice to explain from a
primary source on what happened, but it halts the story to do so. The
film is very calm and settled in the first hour... make that the whole
three hours, though some strong words were expressed, nothing is
memorable or striking. It's very light on the entertainment and more on
the gentle drama flow. The dress was appropriate and the idea of
anti-America and patriotism was also presented from the Russian side,
but it's a little too classy which concludes to be boring and it's
focused on the hierarchy status of upright wealthy people rather than
covering any slum territory. Aside from the intelligence in the talks,
between the plots there's some humor involved that timed right when it
was there during the long story sticking to parties and investigations
and when Nicholson's non-political character disappears for an hour, the
film also takes a dip. The storyline mimics a Butler-O'Hara relationship
who always have their problems, splits, get back together, and repeat
the process. The characters don't ever settle their personal problems as
this love triangle is very repetitive and indecisive. Keaton complains
and pitches her voice to an extreme annoying magnitude to her husband at
various occurrences and anytime a person raises their voice, it lasts
quite some time and in the end, it's completely dull. Many scenes can be
ignored when it involves a political talk between two or more men or
when anyone walks around without knowing his or her destination with a
zoomed out view. The conventions and the relation with journalists
during discussions had insightful views on political parties, but it
does lack inspiring scenes as it seems the script was more written from
a history textbook. The long and overblown movie is not viewable again
because of it's length and much needed endurance and without a
semi-great cast, the movie would be no where without them.
Final Grade: C/C-
The Rocky Horror Picture Show (1975)
Starring Tim Curry, Barry Bostwick, Susan Sarandon, Richard O'Brien,
Peter Hinwood
Film Prophet's Review...
Viewed and preferred as the most identified and prevalent cult classic
film, setting up a sci-fi musical movie matched with a rock and roll
style of sound, although it's unordinary. A couple planning on getting
married head to a hotel, but their car breaks down and they find a
castle to stay at instead and inside the place holds members from outer
space Transylvania who like to sing constantly. The movie contained
wicked costumes and makeup while some of the characters had sexual urges
and futility, other character's attributes were being transsexuals. The
vision of watching a man with lipstick will make the viewer feel dirtier
than the person actually is. Similar to constructing a Grease meets
Spaceballs film, it didn't feel like I was watching an actual movie
because of all the disparity and absurdity to the quality of the film
making. The sound effects and voices hurt the condition often, a lot of
things are spoofs on past fictional movies, and rather than talking, a
person would start singing out of nowhere for whatever reason, which was
sort of funny and soon got old. The talks are in rhythm too as where
most of the songs just repeat the refrain line over and over again near
the end of the song. The problem is that no one part of the movie seemed
to take this movie serious and new characters would enter every so few
scenes to add a particular spice for a couple minutes, which resulted in
yet another singing original song leading to a chorus of others to join
in on the fun, then they fade away underneath the leading cast. The
acting is overly done and spotty on purpose, although, Tim Curry was
really amazing for being a weird transvestite tallying a fun personality
to the mix. The second half of the movie had cyclic monotonous and
inconsistent entertainment valued at a small amount.
Final Grade: C+/C
The Passion of Joan of Arc (1928)
Starring Maria Falconetti, Eugene Silvain, Andre Berley, Maurice Schutz
Film Prophet's Review...
A French peasant girl opposing occupying British forces is tried for
heresy and witchcraft and burned at stake. Joan is condemned to be sent
from god to save France and win a victorious battle. Silent movies are
as shocking as they come because of all the emotions are confined to the
acting and because of the correctly placed close up edits amazingly only
through facial expressions in this film, the movie delivers an excellent
notch of sentiment. Maria Falconetti as Joan of Arc portrays her stellar
and it's the only performance she's starred in and has been judged as
the best female performance ever and the best portrayal of a past
figure... she does everything right. Initially believed to be lost in a
fire, the French movie is the original and the best story telling of
Joan of Arc. The story records the start of the trial to the death of
Joan going straight into things in court where the Cauchon questions her
allegiance and declaration. There's no ineffective flashbacks to a war
or family relatives and it only concerns the trial. They interrogate
Joan having a fun time bullying and questioning her denials and
salvation and this is a fine example of ignorance and impatience to the
church's hierarchy. "So you are certain of being saved?" Re-edited with
a strong church choir, the beautiful composed music adds an outstanding
dimension to the timeless story. Along with the vastly impressive
framework and captions, the movie penetrates an artistic, detailed,
realistic genuine moving film to a religious one or anyone provided by
great acting all around and a great pace to the story to keep one's
interest intact till the end. Joan of Arc is heroic in the observation
of the Film Prophet presenting to befall youth, spirit, anguish, and
belief.
Final Grade: A-
The Grand Illusion (1937)
Starring Jean Gabin, Erich von Stroheim, Pierre Fresnay, Werner Florian
Film Prophet's Review...
In the French film, the story was between class and national identity
during World War I focusing primarily on three aristocratic French
officers in the army where the characters were divided into class
structures and the higher officers moan about how the middle class is
rising. It's a war movie that focuses on the settings, not on a
battlefield, where the characters are thrown together by war to an area
without a battle. Not only is war a commotion to humanity, but also the
prison camp where this movie spends most of its time on the escapes and
customs of it. It opens up the way of a poignant display with its French
cinematography and language as everything is alright at the moment.
Awaiting for something to occur, it persists to remain unentertaining
while the one-sided story is set basic and it doesn't take any turns
from a remedial scene, which comes unfulfilled in the beginning, just
like any use of war violence. The dialogue between the men is too gentle
and insignificant towards a narrative and they pronounce a number of
information about their troops, but it ignores a struggle or a conflict
that is pushed way past the beginning which is late for anything to
unfasten to fall into the story the direction it wants to take. It also
lacks female significance and contributions, again, that is pushed to
the end and it's done so horribly. Film Prophet is slightly disappointed
after reflecting on all the raves this movie received. Jean Renoir
needed to get the - considerate of one other through any regulation
ensuing loyalty and duty - message out there better. The movie is more
on the daily routines off of monotony because there isn't much to do
except eating, dressing, and singing in a chore with ramblings along
with bad jokes than an actual clash or disagreement between two opposing
sides. For this reason, the unexciting story leaves the viewer from
being involved enough as one should and it continues to do so throughout
the movie to the point where a viewer loses most if not all its
attention to the characters.
Final Grade: C
The Ring Two (2005)
Starring Naomi Watts, David Dorfman, Simon Baker, Elizabeth Perkins,
Gary Cole, Sissy Spacek
Film Prophet's Review...
The misfortune of this horror sequel where the original didn't need one
as a matter of fact, it was a totally ridiculous idea revolving around
nonsense about a little girl who's been dumped down a well in the abyss
dragging its viewers through a television screen from a video tape lacks
logic, but she still manages to communicate through supernatural video
equipment. In this horrific child theme sequel, everything is fine until
the static suspicion and that video tape returns. Film Prophet did not
see this because it's a dismay movie that lacks intelligence cracking to
be hip. I disliked The Ring and anyone's view who thought it was scary.
The single reason that drew me in was through the power of Naomi Watts,
my number one favorite actress, who convinced me to watch it because I
love seeing what kind of acts she has in her latest films. Though in the
first one, it was a bunch of stares, gasps, and quiet screams. Her
appearance has a plus when her hair is also straight, but she has wet
curly hair some of the time in this film. Her natural talent connects
with the audience bar from the weak parts by means of direction and
storytelling, but the art makeup and visual effects are clearly embedded
when they are there. It's a movie when people get bothered by asking
questions or hearing them from others and not knowing the answers to
them because the story contains an indistinct message and too many
faults, where the story is a bit fuzzy and once an answer may finally
appear with any relevance, it eludes past it to the next scene... the
movie can't even respond well to its own story that's profound on
nothing. Afterwards, the story follows a series of creepy pieces that
pause and attempts to spook at the suspense and half of the movie
dragged on about consulting the kid. It's vastly boring for a horror
film that has no excitement with exceptions of one scene with killer
deer, but of course, Watts and Dorfman were the only two on the road
that time. Riding off weak dialogue from a below par script that was
begging for boredom from the pity start, the supporting cast doesn't add
any merit to the storytelling either as they can be easily forgotten
because of their minuscule roles. The Ring Two acts like a second-rate
Secret Window and a fifteen minute Twilight Zone show, but even those do
a better job picturing a middling story.
Final Grade: C-/D
Oldboy (2003)
Starring Min-sik Choi, Ji-tae Yu, Hye-jeong Kang, Byeong-ok Kim
Film Prophet's Review...
A guy who was locked up for no cause has a fictional movie made up for
no reason which should be locked up too where no one will see either of
them. An average man, Choi, is kidnapped and imprisoned in a hotel room
for fifteen years trapped and locked in that small room as the audience
is as clueless as he is while the movie opens confusing to give the
expression of knowing nothing. He is thrown into a clutter and gets
terrorizes in strange ways. Fighting with determination to get out, the
ambiguous tale is about revenge which is as old as it gets. However,
movies greatly still have thrilling tragedies and vengeance to show, but
it doesn't come from this film at all. The movie works for itself, not
for the audience. The lack of cleverness, originality, and compassionate
consideration to deliver an experience to get involved has a plot that
seems so simple, but then again, it can't be explained entirely because
of the uncertain plot holes. The plot is far-fetched by manipulating the
audience into the trendy dilemma with its unnecessary violence and the
screenplay gets a little chaotic too with unbelievable hallucinations.
For about twenty minutes, I became disgusted with the gross sequences
after he got out of the room because they were dry and tedious with no
entertainment fronting to an unconvincing follow up on what happens
next. He comes back and terrorizes his foes in sick and disgusting ways
and the director handles them ugly and brutal in addition to having no
message out of a futile premise. The story line is underdeveloped and
contains no depth and when it attempts to, most of the scenes and
subtitles can be ignored because on a consistent scale, the line would
always be below the norm of an average movie's thrilling momentum, in
which this movie was degrading to a clog of dust sloping to another
meaningless scene of violence that doesn't communicate back as great
action. The enemies are terrible and too easy to knock out, the music is
abundantly energized and up-beat for no purpose, and Film Prophet was
waiting for someone to explain something logical with a worthy
importance and this forces the viewer to think about it, but there is
refusal indication to think on as Film Prophet in particular, got mad
and aggravated at the flow of the movie where it also botched to settle
in a comprehendible matter.
Final Grade: D/F
The Thin Red Line (1998)
Starring Sean Penn, James Caviezel, Nick Nolte, Elias Koteas, Adrien
Brody, John Cusack, Jared Leto
Film Prophet's Review...
Experiences of a group of soldiers about to go into battle at
Guadalcanal against the Japanese during the second World War in the
Pacific shows the demoralization and humanity sides. Respected director
Terrence Malick shows war causing effects on innocent nature and their
animals or people and it destroys them off just so like the men. The
natural environment is highly examined with the waters, grassy plain
lands, and the green forests as its dictating war against nature, where
nature isn't part of their take such when it opens to a slow pace of
images of this malevolence and long time spanned shots, the film is down
to earth. Caviezel's placid and kind character is the voice of the story
expressing the nature, accounting to others in their different
positions. Here, the narration shifts over voices by inner-mind mediocre
psychological personal point of views pronounced in a soliloquy on the
world as the introduction of a character and when the movie ends, all
those views are elapsed and it filled in too much time. The movie's
other weakness was that it's three hours of a war film where not once
was there an emotional tear jerking scene. Some scenes and camera views
feel so real where the viewers can become almost as nervous as the
soldiers. I thought I'd never mention this to any film, but the sound
mixing was really incredible and effective to the overall quality where
at any moment any sound can occur. During the movie, someone comes in
the picture and can fall right down without getting to know him as this
is the way some of the characters are introduced in the story. It's how
soldiers are brought into combat. Some of the cameo appearances by well
known actors - John C. Reilly, Woody Harrelson, Ben Chaplin, John
Travolta, and George Clooney - in small parts may last for only five
minutes, but war never ends. For example, Cusack arrives halfway through
the film and the audience doesn't know how long he will survive. Part of
the attachment to the film comes from these talents from the ensemble
cast. The scenery of battleground life is where the drama and most of
the attention entraps as it becomes the best war movie to portray
battlegrounds. It illustrates fear and pressure conquering over being
brave, accurate language communication back at home or in the fields to
enemies, victorious parts, anger and sadness, disagreements over orders,
and the error of war - dropping like flies with no relief for pain and
injuries heading on an indefinite line.. a thin one that shatters bright
red. They only have one another for aid that's not really reliable in
courageous machinery situations. "What difference do you think you can
make, one single man in all this madness, you die it's going to be for
nothing."
Final Grade: B/B+
The Lost Weekend (1945)
Starring Ray Milland, Jane Wyman, Howard Da Silva, Doris Dowling,
Phillip Terry
Film Prophet's Review...
Film Prophet likes the Billy Wilder and Ray Milland recipe here and as a
matter of fact, they both won Oscars along with best picture for this
film. The movie is an enticing and realistic tale of an alcoholic's
binge, however the movie becomes plain and too uniform. Milland acts out
this character in an engrossing picture set in New York City as an
extraordinary lifestyle of a chronic alcoholic who ruins his life and
career of a writer. He is casual first off, yet he's really addicted and
desperate that he hides bottles in secret places he won't even recall
and plans schemes while the people around him have tried before to
prevent him from his indulgences as Wilder directs this almost
flawlessly. The plot releases when he skips his trip for the weekend to
Long Island. When there's a site of alcohol in his radius, it wins as he
won't get some control and drink anything else besides whiskey. It's all
drinks for him... no food and no sleep. The plot centers on that one
idea for the length of the film as he gets as far as random visits to
the bar with a few flashbacks to his additive, nervous past and
occurrences where his lady love loses to his alcohol, then wonders away
in search of more binging. His addiction has over-come any sense of
dealing with burden and there's no holding him back. Indeed the point
has already been expressed, bar from Wilder's offer on a range of
aspects to it, but there's also little to pose since it's off of one
concept. The dialogue at times came somewhat predictable and not much
arrived at a surprise from it, given that the plot was also
one-dimensional. For that reason, some relevance and techniques used in
modern era films have recalled its stand and the movie grows each scene
climbing to a great ending making a delicate film at best, but not close
to being among Wilder's top five directed movies.
Final Grade: B-/B
Beautiful Girls (1996)
Starring Timothy Hutton, Matt Dillon, Michael Rapaport, Natalie Portman,
Uma Thurman, Mira Sorvino
Film Prophet's Review...
During a snowy winter in a small fictional town, a group of lifelong
buddies get together, drink, and struggle to connect with the women who
affect their decisions and dreams. A former high school stud, Dillon,
continues to embrace feelings for his ex-girlfriend complicating his
relationship with his current lover. Willie Conway, Hutton, is the main
character from the group of men who is at the crossroads in his life.
Although he cherishes his girlfriend city attorney, he meets Marty,
Portman, a curious and smart thirteen year old next door neighbor. The
primary reason why I saw this film is because I wanted to see another
performance from Natalie Portman who I can't get enough of from the
moment till she came on till her last showing... similar to Willie for
being so interested in her. Speaking of age, she is so alluring that
even Willie over ten years older finds a connection to. Trying to stay
cool by refusing to grow up at almost mid-age sets an obvious maturity
theme, but it's really immaturity for the cast who don't want to accept
what's coming ahead yet. Everyone has been through these times sometime
so people can relate with some of the contemporary material. After a -
hey, how are you, ok, pause - start of getting re-acquainted, the
audience realizes each character has some life and originality to the
story. Not everything can be fun as the movie shows a bittersweet look
at relationships. The problem is these guys are almost reaching middle
age and the women also won't let them grow up because they don't want
marriage for example. "This ain't high school anymore." The women are
also indecisive and uncommitted. Lauren Holly's character as the once
popular mean girl wasn't resolved and left me clueless. My favorite
scene is Uma Thurman's first appearance arriving in the tavern talking
to the group of guys and the best speech is by Rosie O'Donnell in the
grocery store about fake beautiful girls in magazines who are
non-existent, but like other women, she doesn't demonstrate her mission
either. It's a heartfelt movie of moving on forward leaving regrets
behind and yearning to be young once more... the normal life and setting
makes a normal movie.
Final Grade: B-
Robots (2005)
Voices by Ewan McGregor, Robin Williams, Halle Berry, Mel Brooks, Greg
Kinnear, Stanley Tucci
Film Prophet's Review...
Rodney is a young dreamer and an inventing robot who always wanted to
meet Big Weld, the best inventor robots have seen. When he reaches the
city to find him, he is not there to be found and in his place is
Ratchet, who wants as much money and power he can get. Rodney and a
group of pals try to rescue his hero and prevent Ratchet's further
plans. The writers of the film threw a bunch of nifty ideas together...
half of which can be found in past popular culture where it's ridiculed
upon, and the other half is their own ideas relating to the robot world
and its functions. It tried to resemble humans as much as possible like
any CGI animated story, nevertheless, the animated movie was still in
deficient of practicality and reasonableness. Most of the movie was
expressed by how robots would look as if they were just like humans
living in their own world showing daily routines and the evolution
children go through focusing in on their metal body parts. The class
structure of their city was imprecise because it showed that there were
only two ladders... the thousands of average robots and the couple who
run and control the robot world in a corporate fashion and what they do
affects the thousands in a collectivism ruling. The story also took many
breaks from the direction it was bearing to. For example, after thirty
minutes of revealing what the robots are all about, the actual anecdote
moved very slowly which allowed time in between for comedy jokes voiced
by Robin Williams, robots to whine about how their body parts don't
function properly, wild coasters from nowhere occur, and more popular
gags resulting in a hiatus to the minimal plot. Half of the story and
it's ultimate pinnacle was pushed to the near end of the movie where the
music kicked up to a high volume and all of the character's problems
were resolved and crammed within the final time frame right before the
big clash and dance by the town's folk of a finale. The talents of the
numerous voices were definitely there, but the computer work prevailed
over the writing where the little guys usually win.
Final Grade: C/C-
Persona (1966)
Starring Bibi Andersson, Liv Ullmann, Margaretha Krook
Film Prophet's Review...
Director Ingmar Bergman owns the best Swedish film work of all-time,
although sad to say, Persona is too unclear for the average viewer for
it to be among his best work. It's an unique human drama with a
psychological plot used as a centered template for modern films. An
actress, Ullmann, who did silent films, but for no more because the
genre is obsolete, is unhappy with her abortion and all the horrible
things in life. The nurse, Andersson, brings her out away from the
medical center to her seaside home. They share similarities by
personality except one can't talk and verbally express herself.
Eventually, the nurse gets annoyed with speaking to herself as she
believes she is studying her as the film gets destructed literally.
Ingmar does this by complex visual imagery that creates a profoundly
unsettled feeling on interpreting people. There's obscene flashing
vignettes, some are which long black fades, to open the movie that are
too rigid to watch, and other times it's pitch quiet, but there's
disturbing constant background sounds, such as a dripping from a faucet,
that is irritating and when a part of this happens, it symbolizes a
conflict between the two. The viewing is all natural... still images of
bare depression, can't get comfortable, and a fear of being surrounded
by dullness and distraught with a striking look. Not everyone is going
to connect to this movie because it's very avant-garde plotting
experimental filming techniques in messy places. It has themes of
extinction and cruelty and a lot of sub-par quotes on the meaning of
life and it is when the movie picks up when the two women discuss life
to each other, mostly the nurse of course since she isn't the mute, the
audience becomes the actress as the listener to the voice of the film as
we learn about the two. "You smell of dreams and tears." I am glad the
actress of the nurse was Bibi Andersson, who Ingmar effectively uses and
relies solely on her speeches since there was no extras used in the
film. He finds a way not to make a movie too dull involving two women
for the majority of the time. Besides the images, the morality is in her
dialogue as the film misses a few key notes to entertain and understand
fully, which leaves interpretations open. "You are cold and
indifferent."
Final Grade: B-/B
Magnolia (1999)
Starring Tom Cruise, John C. Reilly, Julianne Moore, William H. Macy,
Philip Seymour Hoffman
Film Prophet's Review...
"Strange things happen all the time." A humane study of individuals with
perspectives and pressures is visible though a complex day of
catastrophes, consequences, and frustrations found in the story's
character's lives. There are complications, yet natural events that
stress the fantastic and weird subconscious world for three hours long
where every scene adds something and almost each scene has a continuous
instrumental score that carries out to the next. On one struggling and
impossible day in the San Fernando Valley of nine lives living guilt and
lies, a male nurse care takes over a dying man who has a famous lost
son, a cop is in love, a boy genius on a game show, an ex-boy genius
feeling detached, a game show host and his estranged daughter will each
become part of the dazzling multiplicity of plots through one movie
sharing divine intervention. Reilly is a cop who discusses his job
trying to make it his best through the ignorance and arrogance of others
living the unpredicted as he gets noise complaints to attend. The long,
dying, monotonous exposition presented in his voice-over had a
disarranged looking setting using wild camera pans and zooms
simultaneously, but that was just an appetizer. The movie's strength is
lasting an unsettling tense intrepid feeling within one because the
characters can be so real in which these severe things can be happening
right now. The acting is tremendous and everyone in the movie had a
significant token to bring to the odd characters towards a top of the
power line for drama movies. It seems the actors fed off each other in
their scenes together and from viewing preceding ones that set the
motive of the type of resilience and determination to perform. "I will
drop kick those dopes if they come near me." Film Prophet was
over-whelmed over the fact this movie contained Cruise and Moore who
both had their best performances from this film... ever in a film.
Cruise's character runs a high energized, hilarious, and meaningful
seminar for single men in the spotlight, which the successful
motivational speaker teaches them how to seduce a woman and leave her.
"I will not apologize for who I am." No one is the same and everyone is
different. People get agitated over perceptions of other people
concerning them, and the scene where Moore gets her prescription is a
superb example. Stop asking questions and mind your own business is one
of the messages. The world is a mess and the movie pinpoints drama in
certain areas that lasts for three full hours. "I'm quietly judging
you." The dinner date conversation between Reilly and Walters is my
favorite scene of them all. The movie says the past is not through with
us. The movie also features the most bizarre weather scene ever
that reminds the audience that everything is okay, really.
Nothing is normal and nobody is normal. Everything has problems and
everyone is in trouble.
Final Grade: A
Shadow of a Doubt (1943)
Starring Joseph Cotten, Teresa Wright, Patricia Collinge, Macdonald
Carey, Henry Travers
Film Prophet's Review...
Plot turns come at the correct time from the correct mind of the best
director of the suspense genre, director Alfred Hitchcock. The
underestimated gem has little profanity and adultery situations as it's
filled with raw thrills and pure staging of climactic scenes. The witty
story takes away the tranquility of it's setting to reveal evil where
it's least expected. Before growing past the boundaries of an average
town in California, the story is introduced a little too comforting
displaying a family, who will soon welcome a surprising visit from an
uncle to his sister's family as the daughter also invited him to stay
before now knowing he is suspected in a murder on the east coast as a
pair of detectives without a photo are hunting him. Hitchcock sets up
the family brilliantly and allows a correct amount of time during scene
transitions, each character has important development, and there's
perfect music and sound from transferring scenes. The performers do what
they are told from his perspective vision on every shot taken. Cotten as
Uncle Charlie is purely an under-valued actor as he carried his role
with his magnitude and fascinations, but it's also the combination of
Cotton and Wright, both named Charlie, who grab the attention within the
plot. The daughter Charlie is a golden average girl and Wright has vast
range of performing as she stood out the most as superb as any female
performance ever on screen. Young Charlie has a clever mark and
Hitchcock presents the story with clues and hints visually and verbally
where the audience can also judge and guess while young Charlie
discovers the truth about her uncle the family knows little about, but
love him very, very much. Uncle Charlie does all he can do to hide
notices of elucidations and Cotten's voice and identity to the character
has an amazing, yet an absurd tone. I was impressed with the lovely
talents of the cast I knew little about to deliver all excellent body
languages and moods. Every element that Hitchcock uses, and he uses
every element, accounting towards this movie is cherished, proper,
stellar, and a picture perfect film. Hitchcock's gripping, quick camera
point of views presenting with an astounding eyesight are helped by the
ensemble who enthralls from the very intelligent written script. It's a
film-noir more focused on the individual and family rather than on any
cops and Hitchcock dislikes cops. The screenplay written then was
staggering, especially where Cotton's inventive character has lines
about wives and money at the dinner table followed up by what could be
the best said set of lines. "What do you know really... at night you
sleep your untroubled ordinary little sleep, filled with peaceful stupid
dreams and I brought you nightmares. You live in a dream. You're a
sleepwalker blind. The world's a hell, what does it matter what happens
in it." Shadow of a Doubt is the first clear standout reviewed film as a
Film Prophet Top Honor.
Final Grade: A+
Almost Famous (2000)
Starring Patrick Fugit, Billy Crudup, Kate Hudson, Frances McDormand,
Jason Lee, Anna Paquin
Film Prophet's Review...
'When and where does this real world occur?'
William, Fugit, is a young teenager inspired by rock and journalism and
enters the life backstage accompanying a fledgling band from Michigan
called Stillwater on their first tour. He is too young for college and
Rolling Stone magazine takes an interest in him and lands an assignment
for a piece on the lives of the band Stillwater. The exciting road experience
teaches him a life changing lesson about the importance of friends and
family... and the same can be said for the band. I went into this movie with neutral expectations without knowing
how it may turn out when it's over. Cameron Crowe's script was one of
the leaps that gave Kate Hudson a boost to the leading actress she is
now. She makes a connection to the audience easily on the way she
portrays her character as a band aid of the group. "Famous
people are just more interesting." All the performances are excellent
and the sequence on the bus with the song Tiny Dancer is one of the
finest moments in the film. Philip Seymour Hoffman also plays an
unnoticed mentor to William in the film. The
mother, McDormand, in this story is losing touch with her two grown up
children and constantly tells William not to do drugs. She manages to
open the first ten minutes on the subjects she disagrees with against
her children and the film's thesis of rock, unidentified with universal
and eternal memories of rebellious teenagers trying to have a purpose in
life. Thankfully, the movie kept her worrying appearances short later.
The film captures three concise age brackets basically, but it is short
on the fine explanation of the current time and being cool while it
shows backstage life, magazines, photos, managers, fans, and vinyl
records. This is the position
of the movie as it says if a person growing up in the time doesn't
follow rock and roll and become a fan, that person will be misplaced
perpetually, which is coming from uneducated people on the infamous rock
scene. It does mention no
one can explain rock and roll and the movie sticks to that message and
doesn't explain it either. There are some insightful things such as
Rolling Stone stories being a thorn to bands who tear them up. As the
band calls it, the enemy is the rock writer. The humorous lines at
moments make the film enjoyable as Crowe's Oscar winning screenplay was
assisted by the realism, designs, and costumes while the comedy and
emotions absorb the drama. Elton John's music also fulfills the
soundtrack of the film for the seventies. Emotions are drilled in a surprising scene on an
airplane twenty minutes till the ending. During an era of how rock and
roll changes, the core of the band within the movie's theme enlivens
around genuine bonding of friendship and the true art of journalism. William is looking for that key interview with the lead
singer, Crudup, but it's kept to a secret handled well by Crowe's
writing escaping
reality and keeping in touch with it at the same time.
Final Grade: A-
Elektra (2005)
Starring Jennifer Garner, Kirsten Prout, Will Yun Lee, Goran Visnjic,
Natassia Malthe
Film Prophet's Review...
From an adapted marvel comic that didn't halt the production and took
the female character from the movie Daredevil, Elektra receives her own
titled movie as a female protagonist lead. The story follows Elektra,
Garner, the beautiful and deadly assassin, who was trained by the Hand,
a clan of mystical ninjas. When she turns her back on their ways, they
want her dead as she protects a man and his daughter's life who has a
secret that the Hand wants. The movie used her character's appeal to its
advantage, but it lacks some interesting depth. The best parts of the
film were the chases and runaways to nowhere with the villains always
knowing where they will be. The plot was going somewhere at times too.
The choreography looked neat and so did the sequences, but in scale, it
tried too hard because it had to use editing and visual effects, such as
slow motion dodges, to the martial arts to dazzle the screen. The pace
of the action on the graph would look something like a bunch of Ws as it
had no climax because it was scattered everywhere. The villains didn't
do much of anything besides showcasing their aptitudes, but the action
mostly consists of power ninjas with links to Elektra ala Catwoman and
Tomb Raider. Their acting was terrible as Garner's charm and high
endurance couldn't save it. The villains were wicked who vanish, but
couldn't say their lines while the screenplay was so dull through short
one-liners back and forth with sharp stares that were almost painful to
listen to. 'How are you doing - Still alive.' 'Doesn't matter, you can't
stop her, nobody can stop her.' The dialogue was very lame and
considered few thoughts to turn conversations into an interesting
legend, as the story says. Some lines have reasons that do no make sense
as they're very rushed without a nice introduction and they become
unnecessary. 'How did you do that - Get out of here.' 'Enough, it ends
now.' It didn't turn out as bad as Daredevil though. The question arises
if it will be remembered for almost a dozen months now to take a Razzie
home.
Final Grade: C-/C
A Night at the Opera (1935)
Starring Groucho Marx, Chico Marx, Harpo Marx, Kitty Carlisle, Margaret
Dumont, Allan Jones
Film Prophet's Review...
The Marx brothers are famous for their originally to bring pure
one-liner jokes consistently to the theater. Their jokes have lots of
puns out of a minimal plot about madcap friends helping a male and
female opera singers to get noticed before a snooty management group of
an opera theater. It's not worthy to go all into the story, but it's
creditable as it's fundamentally ingenious for today. The story has a
minor love angle too to reach out to the female public divergent to the
uninhibited behavior routines of the brothers. One of the brothers,
Harpo, has a modern day Silent Bob technique of being a bit quiet, yet
funny while the brothers together can be related to the guys from Monty
Python - oh, the influence... they did it first with a highly better
script. Harpo's silent frolics are enchanting, while Chico is up to
usual that will receive the jolly type of laughter and big grins. The
brothers gave present day history of the best type of humor that was
displayed at the time that was immediate to the bullet on their lines.
In other work of their films, it's hard to pick out which Marx is who,
but Groucho gets the most time on screen as he's the striking star.
Groucho makes perhaps the best comedy artist to watch and listen to, up
there with Buster Keaton. "When I invite a woman to dinner, I expect her
to look at my face. That's the price she has to pay." He is continually
the sole funniest act on frame in the movie with brash remarks and
contemptible teases of almost anything mocking in slapstick ways,
especially to his nemesis, Margaret Dumont. "Get off that bed. What
would people say? - They'd probably say you're a very lucky woman." When
the movie decides to go music, some musical singing, one in particular
three-quarters in the film, drains some of the energy from the funny
side. However, the lines continue from the well written screenplay and
its at most excellent during Groucho's unique, funny, and zestful
observations. The film makes up for about three greatest ingredients
found from any film... hands down the best comical performance of
all-time by Groucho, the most original screenplay ever written with
constant staggering lines, and the final exhilarating ten minutes that
had everything.
Final Grade: A-/A
M (1931)
Starring Peter Lorre, Otto Wernicke, Theodor Loos, Ellen Widmann, Inge
Landgut
Film Prophet's Review...
Director Fritz Lang is among the most distinguished directors of his
time with his unique German style and execution of ideas on screen. A
portrait of a compulsive child murderer, Lorre, is examined for the
first time in entertainment crossing the lines of traditional silent
cinema to a talkie too. The story is an illustrious psychological view
with an incredible development of early film ideas via an ambiguity in
ethical issues awarding the audience with a perspective with each side
of the case that is difficult to resolve. He adds ways to help entertain
the viewers without any music at all. There is no music or scores as
every scene is quiet unless environment sounds or human voices occur and
his non-human presence shots are eerie. The acting is very true and
realistic and fond to fit any concern. Not many things are pretty in the
story. The characters aren't pretty and there is always problems between
the cops and criminals. The conflict is that there's a frequent unknown
child murderer in the town where restless cops go very strict to
prevail, inspecting and raiding everywhere as they upset the town
because he hasn't been caught and it appears the murderer is laughing at
the town's mess because of him. The cops discuss potential areas to find
him, but the police can't do it so the local criminals try to get in the
act. It gets so serious in the town that men talking to girls on the
streets is taken as an act of accusing crime. The first gripping words
come from a child girl - Just you wait a little while, the nasty man in
black will come with his little chopper, he will chop you up... which
becomes an allusion to the plot. The movie reminds me of a blend between
In Cold Blood and To Kill a Mockingbird in a visual style with
disreputable murders. It lacks a vast appearance of Lorre as the
murderer in the first half keeping his attendance trepid. Lang uses an
interesting way to finish a movie about a man with a mental issue of
chasing little girls by free will and responsibility.
Final Grade: B+/A-
Cape Fear (1991)
Starring Robert De Niro, Nick Nolte, Juliette Lewis, Jessica Lange, Joe
Don Baker
Film Prophet's Review...
A tattooed psychopath, De Niro, is released from his fourteen years in
prison to quarry on his former defense lawyer, Nolte, his wife, Lange,
and his daughter, Lewis, who does not remember him from the exact case
from the beginning. In the De Niro's character's point of view, he is
fixated with losing fourteen years of his life and there has to be
something to make up for it... has last personal memory outside the
sentencing, his attorney, unethical on civil liberties, perhaps. His
character creates what a villain is supposed to be: smart, takes pain,
vengeful, smokes huge cigars while laughing it up, semantic,
straightforwardly terrorizes his foe's life, and even drives a fancy
corvette. Nolte's life and family is in absolute danger. He stalks on
location with a motionless gaze and disappears with ease unsightly.
Here's the humorous part that was a main reason to watch this movie,
when he gawks, the melody beats in. Elmer Bernstein made a tribute score
to the legendary Bernard Herrmann from the original film with Gregory
Peck and boy did it even work completely. It is the most captivating and
best element in the film as it is recognizable and its just four
repeating notes. Something is up when that tune plays. The Simpsons have
used the score and the film's premise in their titled episode, Cape
Feare, as the Thompsons. The film has superb acting... De Niro was Oscar
nominated as well as Juliette Lewis who is the adolescent daughter of
Nolte where De Niro awakens her curious sexual thinking composing an
interesting chemistry. Scorsese's directing does a well job, but it's
not among his best. During the end, he crafts panic in claustrophobic
situations, though the ultimate drama and intensity is not featured to
his conventional measures.
Final Grade: B
Constantine (2005)
Starring Keanu Reeves, Rachel Weisz, Shia LaBeouf, Djimon Hounsou, Tilda
Swinton
Film Prophet's Review...
From an unneeded adaptation based on a DC/Vertigo Hellblazer comic book
series, John Constantine, Reeves, is a man who dabbles in the occult and
teams with a female police officer, Weisz, to fight subversive evil
forces. Constantine is haunted by his permanent sin of a past suicide
attempt and tries to do all he can to make it to heaven when his life
ends, so he cures selected people affected by exorcism. The story is
externally paranormal and no one knows what's going on really in the
story. First of all, the comic book was not popular enough to be
considered making it into a film... let it remain in the comics.
Seriously, less than half of the people who saw this on opening weekend
haven't looked at a comic of it. Unfortunately, the Constantine
character was too plain just like Reeves himself. This is his suitable
role where the movie doesn't ask him to do anything serious and lets the
visual effects do the work around him. It's the type of movie where he
can only do now, except he's not very well at them. I wouldn't want the
world's fate to rest in the hands of him. Shia's personality as his cab
driver in the film was enjoyable as usual, though a popcorn movie is all
it's for. The far more adventurous trailer was terrible and saying
nothing relevant to the plot, so only society imagined it would be a
plot-less, waste of money on effects film, in which they were correct
because the script did nothing for anything. The human antagonists
aren't given sufficient time to be bad by any means as they become
irrelevant and forgettable. The dystopia conventions were ridiculous...
the plot moves at an incredibly slow rate with poor conversations and
dialogue... speak up! The CGI effects needed better contrast lighting,
even though its demons and anguish, and the camera angles and reaction
shots were terrible. Inspiring screenwriters can't find anything here.
Viewers, on the other hand, would be eager to see this if they aren't
bothered by dull dialogue, supernatural creatures, Reeves, and seeing
powers that are unrealistic to the real world with a slow story. Mostly,
the movie consisted of coughs, deaths, warping with flying beetles,
fire, drowning, and faints, which all weren't cleverly done. Hellboy and
Val Helsing of last year were fifty times better. The biblical context
of casting spells resembled an exorcist gone bad making little attempt
to make sense.
Final Grade: D
Hitch (2005)
Starring Will Smith, Eva Mendes, Kevin James, Amber Valletta, Julie Ann
Emery
Film Prophet's Review...
Hitch, Smith, is a professional matchmaker who gives successful tips to
men who constantly slip near likable women, such as listen and respond
during a date. Providing them interpretations on women's fibs and how to
reaction in a situation, he lectures a lesson over the introduction of
the film. Remaining in the fact to be attentive to women, the movie has
attention as well to the enjoyable movie and lyrical script. "Just one
shot to make a difference." The focal point is on his main guy, Kevin
James, where Hitch teaches him thriving impressions to a woman,
Valletta, but this guy messes up on the little things like spilling
drinks and slobbing on a jacket. There are scenes where Hitch comes out
as a hero, making the key stirring flirtatious conversation that ignites
a date with a woman away from the obnoxious. The movie pitches results
back that the flawless people of all are never seamless. Hitch is a cool
dating consultant, but he also has an allergic reaction. Eva's character
is a gossip columnist, but never wants to admit to her co-workers she
likes a man. Both are knowledgeable and complex on their own careers and
when they are combined, Hitch's career is reluctantly threatened by
hers. People can get emotionally hurt and the movie examines humane
love. "Well, I'm always odd. That's why you married me and that's why I
married you." Will Smith is my all-time favorite entertainer. He is
among the best one man movie stars in the industry. He has the charm,
familiarity, wit, and has proven to be flexible in any genre. Smith is
electrifying in every chemistry in the film, unlike Hugh Grant who puts
viewers to sleep, and Smith shows his talents at the third quarter mark,
which may perhaps be his best performance. Smith as Hitch always has the
right style and broom and his character is ahead of the next step. Given
the grade based on its genre, the script was clever enough to be an
elite, effective comedy romance story. Hitch is an early Chaplin as a
talkie.
Final Grade: B/B+
Boys Don't Cry (1999)
Starring Hilary Swank, Chloe Sevingny, Peter Sarsgaard, Brendan Sexton
III, Alicia Goranson
Film Prophet's Review...
In a rural town in Nebraska, a true tale of Teena Brandon, Swank, goes
by Brandon as a boy's name who had women adoring him with his strange
charming innocence, although, he wasn't the person they thought he was.
Back at home where he moved from, he was a different person in a
personal crisis. He made mistakes and when he trespassed between his new
love Lana, Sevingny, she's trapped as an outsider and a victim of unjust
crime. The movie is renowned in excess of Hilary Swank's Oscar win as
the first words of the movie come from her that were shorter hair. She's
the voice of the story. Viewed as a boy in early sight, her image
appears as a resilient boy, though she's really a female in courage to
be different around surrounding dangers. Monster certainly copied the
beginning scenes from this film with the roller skating rink and female
hooking up, or maybe that's just the common place for that to occur.
"You are not a boy." It filled the mediocre drama elements - trailers,
abuse, brawls, sirens, cigs, rape, mental cases, and agony. The film
pictures a world as rude and brutal for survival against people who
don't like other's optimism and trust in dreams. Brandon is stuck in her
gender she doesn't want and in result, she has a nightmare life in the
subsequent half. Sarsgaard was amazing in his usual sustaining roles,
who is brash and steals cars. Besides from Swank, a performance I was
stunned with was from Chloe Sevigny; picture a current day Evan Rachel
Wood, alluring eyes and face in a tranquil attitude as Brandon's love
interest, terrified into a mess of family frustrations. Her effort has
depth as she did get an Oscar nomination as she was the one who got my
initial attention. Irony of liars, the homophobic uneducated degenerate
tolerance and unwanted acceptance that is emotionally disturbed as its
unsettling for the characters. Though, they did not feed it pass the
screen to the viewers. It's sensitive and truthful, mostly poor lighted
in areas and the story has been done on television, but television
doesn't put in the careful thought and make the right casting moves. The
second half centers around the acting and this particular cast made it
work. It has several violent and unsettling scenes where the acting
stands out the most.
Final Grade: B-
After the Sunset (2004)
Starring Pierce Brosnan, Salma Hayek, Woody Harrelson, Naomie Harris,
Don Cheadle
Film Prophet's Review...
After a final diamond heist, a FBI agent on shoddy terms follows the
pair to an island where he attempts to entice them in another. Brosnan
and Hayek's characters are a wild, loving couple about to retire it
seems and a failed before to catch them agent Harrelson waits to get
them by luring them to big diamond. Brosnan appears to be bored and
needs a hobby, but he really just wants to have fun still. As the two
male characters get more closely acquainted, as this is the majority of
the film, the viewers begin wonder who will be tricking who. I had the
guilty pleasure of wanting to see Hayek's appealing character, who was
satisfying. The worn premise and Hayek convinced me to watch this film,
plus Cheadle as a minor villain who was superb, but he wasn't a huge
part of the story. This story begins where most heist movies end where
the thief and his lady head to a tropical island after their last score,
but there's a ship boarded near the island for a few days containing a
major diamond they haven't stole, renewing a new cat and mouse game of
friendship and suspicion between Brosnan and Harrelson. Los Angeles is
glorified with a heap of celebrities in the opening scene that doesn't
feature Kobe Bryant on the Lakers, but has Shaq, Malone, and coach
Jackson on the team, which is ironic because Kobe is just there now.
Anyways, the crew toys with an expensive movie who seem to have had fun
making this film using equipment to their advantage, stunt work, and
plot trickery and schemes. It tries to earn some cheap laughs that did
somewhat work. The movie reminds me of The Score, except this one is
more amusing because of the Brosnan and Harrelson friendly, ingressive
angle. Although nothing provocative, a team of semi-stars generate a
concise enjoyment.
Final Grade: C+/B-
Maria Full of Grace (2004)
Starring Catalina Sandino Moreno, Yenny Paola Vega, Guilied Lopez, John
Alex Toro, Patricia Rae
Film Prophet's Review...
Stimulating, scary movie that isn't really intended to be... a fresh,
new beautiful face in cinema, Moreno, vastly worthy of getting her debut
Oscar nomination and blessed with natural beauty, is a young, recently
found out pregnant Colombian girl who is adventurous and accepts a risky
trafficking offer to get a job that makes a lot of money by leaving her
country, smuggling drugs to New York, but the ploy is she has to swallow
drug pellets, being careful with prevailing circumstances. Temptations
are for individuals only serving one's self, which means it won't appeal
to anyone else. Not all temptations lead into correct moral choices. In
her case, she is demonstrating a dicey temptation, helping others too
oddly enough for the wrong cause, but not all negatively. The poster
image is not fully presented in the film as it represents symbolism for
Maria's crucible job from the exploitation of jealous and striving young
Colombian girls, like her self and her best friend who are tempted, and
the awful job opportunities in Colombia in which a flower plantation job
is considered a success. From the first scene, Film Prophet admired the
music score that was effective during the epoch without amazing,
unnecessary special effects. Most of the words are processed in the
character's heads as we see them thinking and pondering and the
astonished story is partly expressed in the acting and direction with
miraculous outcomes. When the talk arrives every minute, it's greatly
consuming and the script advances every time. The movie struck my fear
of swallowing large pills and in the scene where she had to practice
with grapes was very striking and relative to my phobia and also the
chance of losing airport luggage. It's very scary at times and this is
not a screaming horror movie at all, which often fail at being scary.
Pure pain, no guns. Picture the creepy dentist scene in Marathon Man,
matched with the intensity level at 400 Blows and the unforeseen The
Motorcycle Diaries flow that is equivalent to a mind boggling, genuine
movie. I was amazed at the obscene possible numbers leading to the
question of why as it was hard to figure picturing one's self in her
situation, but Moreno traps the attention into her character and affects
the viewers and makes us suffer with her. Film Prophet was nervous for
her! Initially seen for her performance, it turns out the film was
moving with deep contemplation. I was completed impressed and didn't
imagine to get this much from it.
Final Grade: A/A-
The Motorcycle Diaries (2004)
Starring Gael Garcia Bernal, Rodrigo De la Serna, Mercedes Moran, Jean
Pierre Noher
Film Prophet's Review...
Based on a true story from a travel diary, collecting observations of
community and public, kept and written by Che Guevara, Bernal, when he
was twenty-three years old, accompanied by his friend Alberto Granado,
Serna, on a motorcycle voyage around South America to Venezuela in time
for Alberto's birthday. Che is a medical student and Alberto is a pilot
and both have similar inspirations and dreams set out during the time of
post-war, but when the film is over, their destinies change. Beginning
on a bumpy track looking for girls and adventure, they have no money
which results in occurrences of little stints to get money and scams to
get food from people looking like hypnotists, or sometimes Che helps
stick strangers as a favor looking like missionaries. Their motorcycle
ungainly falls down with them on in need of repairs. They could have
stayed home in Argentina and ignored the struggle to a tiring survival
outdoors incredibly going no where so far. They later gain knowledge in
certain areas of the country and become more serious about life. In his
diary expressed by commentary and narration, he stimulates the notion of
social freedom and its in this voyage, Che in particular, gets to see
evolution of himself and Alberto into genuine humans surrounding by
other feeble, but caring people. It's similar to the direction of the
movie Easy Rider, without the overdose of hippie drugs. The
cinematography blended in however, it tends to shine at spots. Although,
the most vulnerable part was the shakiness of the camera and rushing
into the story. There isn't a coherent plot, but that's okay because
that's what the movie is progressing on by putting us in the lives of
the two as both of them and the audience do not know what will become,
leaving the story open as pleased. In a history perspective, Che becomes
part of finding government connected to Castro defying socialism from
his widespread views in many parts of peaceful land ruined by armed
intruders. "I'd like you to stay like this... silent." At most, the film
was quiet so there are scenes that will surge chills like what the
wonderful guitar score did for the film. A memorable chilling scene was
the few minutes before the certain swim on the thanks speech by Che as
its in Alberto's face the audience sees Che's glimpse of his
foreshadowing admired, friendly forthcoming.
Final Grade: B
Lock, Stock and Two Smoking Barrels (1998)
Starring Nick Moran, Jason Statham, Dexter Fletcher, Jason Flemyng,
Vinnie Jones, P.H. Moriarty
Film Prophet's Review...
An assortment of artificial characters in London are brought together by
coincidence when a young man loses half a million pounds in a card game.
He has a week to get the money or else they face losing some fingers. He
and his three other friends decide to steal from a gang who are planning
to rip off a bunch of other gangs without being caught. British director
and writer Guy Ritchie has similar misdemeanor knacks in his films as in
Snatch. Such similarities share a male dominated cast without one being
any type of a well-known name, obscurity in dealing with their poorly
executed accents from the United Kingdom, too hard to comprehend
everything until people start dying rapidly, and removes all logic and
reality. Fans of the movie seem to be impressed with characters of their
low IQ because maybe they can relate to them. Basically, they aren't
living a decent life so they have to rob from gangs who steal like them
and put them through pain and suffering using knifes and expensive guns
and on the side, they gamble with cards and the movie is terrible at
demonstrating this with slow-motion, up-tight camera views. Ritchie
blatantly establishes intelligence and thought while the actors didn't
sell their roles and the viewer can't buy into the story completely as
Moran is the shoddier part among the worst acted movies ever created.
The characters come from no where without introduction because they
eventually die leaving no emotions behind as that's not the problem. In
the movie's pernickety cinematic accounts, goofs are trap in trouble and
add some appalling violence and dialogue about killing that wants to be
tough. A reason is that they think they are smart at organizing plans,
but it's just miserable listening to their harms. Keeping up with the
plot complications that are too slow before the movie actually does
anything of enjoyment is a bit delicate with three gangs happening, but
don't worry, the movie slightly raises the lever. "Well this seems to be
a waste of my time." The fuss was overly done with men shouting at each
other and it's not a sharp mob film, but a crime comedy, except there
was nothing to laugh at besides the outcome of the movie which was a
dismal failure to resolve. Another problem is there were too many
characters who checkmate each other, figuring out who is on what side.
"Your stupidity might be a one saving grace."
Final Grade: C-
The Phantom of the Opera (2004)
Starring Gerard Butler, Emmy Rossum, Minnie Driver, Patrick Wilson,
Miranda Richardson
Film Prophet's Review...
It's about the music and the soundtrack that's what brought Film Prophet
to pitch in. The music is taken directly from the most popular American
musical opera. Film Prophet has seen the live opera in person as Film
Prophet flashbacked to that time while viewing parts of this film and
relating it to the play, and knows the true artists and work is done
there, so put to the screen was a test for Andrew Lloyd Webber, who
commits to the story. The disadvantage to the movie as to the play is
that audience can't view the whole set at once because the camera limits
it and that's part of filming a story, but Webber is in favor of secured
close-ups rather than a point of view shot from the seats at any point.
It's delightful in listening to the voices even though sometimes the
words are out-stretched and can't be understood. However, the entire
movie is in lip-sync as if it was a music video, which makes the live
stage play natural and eminent. The rendition can be basically heard
than seeing it. The story is notorious. A man, Butler, with partly
deformed face hidden in a half mask is in love with a rising star during
a romantic musical epic where he roams an underground of an old century
Paris opera house as he tutors a beautiful young soprano, Christine,
Rossum, who takes the place of the opera's most beloved singer,
Carlotta, Driver. The Phantom thinks he has found love until Christine's
childhood boyfriend, Vicomte de Changy, Wilson, enters the play. Not an
easy nor difficult story to perform... it's a stage musical spectacle
with romantic moments. The story opens correctly like the play with the
auction of the glowing chandelier, the most sighted object piece ever in
a musical, years after the event of the play began. The mesmerizing,
famous harden Phantom score that everyone is familiar with is still
unforgotten, effective, loud, and amiable. The commencement is
captivated by the music's tempo. On the contrary, it plummets afterwards
into tiresome scenes that were low and over-extended. For viewing
contentment, the casting was originally likeable for only one member,
who is Emmy Rossum. It turned out Film Prophet was actually surprised
with Minnie Driver's pleasant charming effort, which was in fact
striking with her charisma flair when the film regressed.
Final Grade: C+
Sideways (2004)
Starring Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh
Film Prophet's Review...
The movie concerns two friends on a week long winery trip through the
California country before one of them is about to get married. Jack,
Haden Church, is a voice-over actor and loves his soon to be wife, but
panics about the loss of being a bachelor and pressures himself to find
sex before the Saturday of marriage. It is through the suggestion of his
best friend and best man, Miles, Giamatti, that the two go on this wine
trip on the country side. Miles is a failed author currently teaching
English, snatched in a mess as an alcoholic who went through a divorce
two years ago as he is unable to move on. Creator Alexander Payne shows
an art in detailing the horrible and colorful nature of people's
everyday lives while finding exquisiteness on a wine tasting road trip
that outlines post-maturity and delicacy. Acquainted chats during their
sessions on their tour rumbling on about trying to have a great week and
spending time together acting like conversationalists occurs. The main
cast's characters are all wine experts and know more than the audience.
Giamatti gave a surprising turn from last year's American Splendor.
Giamatti and Church's talks withdraws each other out which gives Madsen
the best personal attraction to the story and her addition to the story
brings the attention back in after the first dozen of minutes. It was
problematical to establish a point of view since the characters weren't
given sufficient time to be devoted from the start, not until the movie
develops, like the script... really enduring. It needed a little more
time and then it erupted fruitfully. The bare weakness was the grating,
incessant score that carries on for too long and sounded something from
a second-rate Nintendo game based from a cartoon, but even that
gradually gets better. There is an exceptional sense of humor and the
cinematography is dazzling as the movie improves each minute. "I'm so
insignificant, I can't even kill myself... you can't kill yourself
before you're published." The best scenes are when Giamatti and Madsen
are sit on the porch as Madsen says a metaphorical speech on why she
likes wine, the part on the golf course where yards away, another golf
cart hits their cart, and Jack crying about how he left his wallet at a
waitress' house. It's most likely the best movie that can recover along
with the comedy and each upcoming scene is impressive as it persists.
The message of the movie is enjoying the mood clear of mistakes and to
learn how to examine wine in a glass.
Final Grade: A-
In Good Company (2004)
Starring Dennis Quaid, Topher Grace, Scarlett Johansson, David Paymer,
Clark Gregg, Selma Blair
Film Prophet's Review...
A magazine advertising executive, Quaid, finds himself working for a
new, younger boss, Grace, following a corporate merger with a team that
has a constant fear that someone will be fired. The two learn from
cooperating with each other for a positive outcome and begin forming a
friendship that is upset when the young boss has an affair with the
daughter, Johansson, of Quaid's character. There are a lot of one-liners
and sight gags including surprised looks from Quaid at ill at ease
encounters. "You kids ready to come in for dinner?" The direction and
cinematography is very average setting the story up pure and easy.
Quaid's character is old and regressing and everyone around him is
moving up. Grace's character is young and progressing as it appears the
two flipped positions. Every other scene someone takes a fall or rise
that evidently changes their frame of mind. It's a nice story about a
happy family and short incidents of humor that hinder. The film's drama
isn't immense, but the acting performances turn a fair screenplay and
its dialogue into a fine, captivating watch. Grace and the cast tuned
Film Prophet in through the movie. The Grace-Johnansson affair angle
attracts the movie's viewers because of Johansson's appeal and talents
as it is easy to fall in love with her. Compared to Naomi Watts, her
acting in the slightest role can still put a smile on Film Prophet's
face. The angle was an amazing add-in and arrangement to elevate the
story. "I heard this rumor that alcohol impairs your judgment." The
script contains irony of expenses, age, maturity, goals, and evolution
wonderfully, like the music, in relation to envy, rebounding, and
security. "Timing is everything in life." Simplicity is its charm with a
scrutinized, astonished ending and the film is entirely delightful.
Final Grade: B/B+
Before Sunset (2004)
Starring Ethan Hawke and Julie Delpy
Film Prophet's Review...
"Happiness is in the doing... There's got to be more to love than
commitment." Nine years ago, two strangers met by chance on a train and
spent the night together in Vienna and parted before sunrise. They're
about to cross paths again for the first time since then at Hawke's last
book tour stop in Paris where they will have the venture to find out
what might have been. The problem is they have just a few hours before
Hawke's plane leaves. They play the catch up game walking around in
Paris in a low budget setting for eighty minutes, the length of the
movie, to rekindle a subtle story. The attention goes in and out of the
film through their very long chats between each other, which is
dawdling. The story centers around only two characters, Hawke and Delpy,
as they are basically the only performers who get to do anything useful
as they try to carry the full story without anything else that's special
going on screen. Both had the ability to memorize long conversations
while walking towards a camera as it backs up in view. Sooner or later,
their voices become annoying since they are the only two talking back
and forth utterly. The small Indie film is non-violent, no action with
guns, but people watch movies to see explosions, fights, or some drama,
but nothing else is present and nothing exterior interferes. Hawke's
character is a mess and needed to relax as he is quirky, frantic,
excited, and surprised throughout the whole film. He cracks minor
sarcastic jokes to continue to lighten up the discussions that aren't
funny at all and Delpy is not amused either. In a nutshell, they figure
out, move along modernly with an ordinary acquaintance of chatting.
Neither are compelling, adorable characters... both lead rather dull
lives filled with unfulfilling romances. They scarcely resolve anything
as there's no need for a tense conflict to be determined step by step
because no new truths are discussed, neither are in pain, but they feel
trapped by responsibilities and mistakes. The movie takes life as it is
poetic and naturalistic along with a second chance that could capture
the connection which ultimately is valuable like time.
Final Grade: C+/C
Million Dollar Baby (2004)
Starring Clint Eastwood, Hilary Swank, Morgan Freeman, Jay Baruchel,
Brian F. O'Byrne
Film Prophet's Review...
Boxing trainer Frankie Dunn, Eastwood, has been unwilling to let himself
get close to anyone including his own daughter. However, Maggie
FItzgerald, Swank, walks into his boxing gym one day and continues to
hit the bags. In a life struggle, Maggie's gotten herself on raw focus,
talent, and force of will. She wants someone to believe in her more than
anything else. The last thing Frankie needs is that kind of
responsibility and risk, but he is won over by Maggie's pure
determination and similar spirit. Redemptive power of sports about a
poor boxer is part of the story, and yet, the story has been told a
dozen of times in cinema on how a fighter dreams to be victorious
through courage and the person and others learn a lesson about life,
which makes them all better. Eastwood and Freeman are a pair of old,
wise trainers who run a boxing gym. Eastwood is a training coach who is
confused about his Christianity. In a softer role, he creates the score
and directs the film including starring where his cliché sayings are
still present - Girly, tough, ain't enough. The dialogue has some
amusing ones with ones involving coherent logic. Freeman's narrations at
points can be ignored completely. His character stalks and runs the
boxing gym all day, who is in a subplot with a want to be contender who
doesn't have the physical ability. Hilary Swank, also known as the next
karate kid, is suitable for the position as Maggie. Film Prophet has to
admit she was the best addition to the movie. She had the package of
herself and her character embodied into a gift. Maggie hangs out in the
boxing gym with all men since the place she stays at is terrible. She
punches bags until Eastwood notices and admits to train her for matches,
going against boxing standard's length of training before a match.
Eastwood's direction was paced and viewed well enough for the widespread
story not to be dull at any moment. A third way through, he makes sure
the viewers are attached to the character's hearts with sympathy and its
truly his direction that turns the story into a wonderful, passionate
one. It completely blew my expectations from the hole of a boxing film
as it was fully inspiring. The fights extract awes that pump
amazement... the lighting and camera angles were efficient, much
impressive as the swings and choreography which weren't dreary and long
with a huge crowd and huge men who can't act. In a men dominated sport,
the film establishes a female's point, rather anyone's, marvelously with
toughness, hard hits, bleeding, training, sorrowfulness, and pain.
Final Grade: A-
The Assassination of Richard Nixon (2004)
Starring Sean Penn, Naomi Watts, Don Cheadle, Jack Thompson
Film Prophet's Review...
Based on a true event, the story of Samuel Bicke, Penn, purses an
American style of living as a sales person who takes very distressed
measures to make his mark. After hearing political speeches given by
President Nixon on television, Bicke has a different approach to earn a
living and money and he is upset about the idea that America is all
about money. He hatches a plot to kill Richard Nixon. His attempts to
steal and lie for a shameful mission turns weary, but his right ideas
lead to bad ones. The movie is purely a motivating watch just for the
cast. Penn and Watts reprise in their second on-screen pair together
from an honorable favorite, 21 Grams, with the addition of the always
welcomed Don Cheadle, apart from this film was a little different. Penn
as Bicke is in nearly every frame as an insecure, lonely man with petty
narrative pieces in a soliloquy guiding his unnoticed life from power to
destroy. He has unusual beliefs into being an unordinary salesman,
fasten by racism and his boss, who is indisposed with his business
ideas. The dialogue is over-written to make some strong meaning to work
on business deals, attempting to make the talks savvy, then cutting to a
lonely moment with Bicke in the scene once again as he listens to audio
cassettes on how to achieve success by being a fair salesman. The
lighting and score were the downers as it's translucent to see the walls
had stains and the grass was dying in a sultry and dry atmosphere. It
was a bit slow in opening the plot or moving the story towards an aim,
and so the cast carries the attention. Watts, Film Prophet's favorite
actress, has dyed brown hair as a separated housewife who is still
magnificent in her approaches, looks, and delivering lines out with an
alluring voice ready to explode at any moment even with the slightest
role as a bar waitress. Being honest with himself, Bicke plans from
being a nobody who was desperate to be a somebody, while the ending was
strong, but awkward. The movie hasn't got any publicity heading under
the radar quietly because like Bicke, a few people care to notice the
feature.
Final Grade: B-/C+
The Aviator (2004)
Starring Leonardo DiCaprio, Alan Alda, Cate Blanchett, Kate Beckinsale,
Alec Baldwin, John C. Reilly
Film Prophet's Review...
Howard Hughes, DiCaprio, dreamt of making the biggest movies, fastest
planes in the sky, and becoming the richest man America will ever see.
Presently, he became a famous billionaire for directing Hollywood's most
expensive movies, designing the fastest planes with speed records,
owning his own aircraft, and romancing heroines. He hooked up with all
the prime actresses at the time and the two biggest female stars were
Katharine Hepburn, Blanchett, and Ava Gardner, Beckinsale. The casting
presented was what the portion of the movie was about and that was
stardom and so, the other notable star appearances were Ian Holm, Gwen
Stefani, Jude Law, and Willem Dafoe. The three most striking scenes are
when Faith Domergue and Ava Gardner's cars encounter one night, a
reckless plane disaster landing onto the country club, and Hepburn's
fanatic chatter on the golf course... all three include Hughes in those
scenes. In personnel means, Scorsese, DiCaprio, and Blanchett capture
the ambiance. Scorsese's biopic has established himself even further as
becoming the best American motion picture storyteller of all-time.
Scorsese matches up to what Hughes did to Hell's Angels aerial shots
over vast landscapes by using several different cameras in the sky and
desired for perfection. The audience gets their first taste off this
production of Hell's Angles of Hughes representing all there was to be
for a man as a rebel, engineer, gambler, playboy, and pioneer... the
aviator. Scorsese mastered at the cinematography of this film, including
getting help from his assistants on the costumes and makeup, let alone,
Blanchett definitely looked and spoke much like the actual Katharine
Hepburn and her performance was exhilarating and very fun to watch.
DiCaprio fuels his dynamic Hughes portrayal with maturity and he shows
all sides of his capability to impress the viewers once again in his
second Scorsese film. Outside of all the entertainment, hairdos, women,
sparkling entrances, and grins, his character has flaws of a knack for
being too clean, frustrated over photography and lights blinding him,
red meat, and lost in sensible conversation. From the entire glamour
scenes, his hard will mind is up against slimy politicians who are
competitive as much as Hughes, which at times we see this, he is more
than ever panic, stressed out, and a nervous buffering working man with
a compulsive illness, but he still insists of keeping the one thing that
matters most to him... his reputation with dignity.
Final Grade: A-
Hotel Rwanda (2004)
Starring Don Cheadle, Sophie Okonedo, Nick Nolte, Desmond Dube, Joaquin
Phoenix
Film Prophet's Review...
In 1994, some of the worst carnage during mankind took place in the
country of Rwanda in an era of radio communications and updated
televised news. A million people died within three months. Inspired by
his love for his family, the house manager, Cheadle, of an upscale hotel
protects guests to escape the massive killings and save the lives of
over thousand helpless refugees under his shelter. The star of the movie
is Don Cheadle, who I am a fan of, is outstanding in the lead role. I've
been waiting to see Cheadle hold a movie as a leading role, except he
didn't get a handful of assistance from the fatigue cast beneath him.
Phoenix is a news cameraman who appears for a total of about five
minutes. The refugees are clueless as to why the slaughters are
occurring as the movie shows a true story when a hotel manager can do
many great things. He is trustworthy and wealthy with a kind accent, who
is dealt inhuman demands, threats of violence, and loads of people who
come to his hotel for safety. "Look at them, these are not rebels." In
order to protect the people, his gentle approach to diplomatic issue
compromises. The rebels with long knifes are portrayed as villains, who
think they can rule over the minorities, apart from being the same race.
The violence was subtle and the story telling was rather plain, like the
cinematography that did not succeed, escorting to an easy setup without
much vivid viewing commitment. The criticism of the movie is that the
sides are confusing and the viewer could struggle at telling if the UN,
US, or any country or army is there to help the people despite race at
Rwanda... it's very unclear. The slaughters are ambiguous as well
because there isn't a sufficient amount of attention of the occurrence
because it just shows the aftermath. The dramatized scenes are hard to
connect with the emotional angle too. As I was anticipating misfortune,
I couldn't bear characters over-weeping on minor wounds hoping
everything will be ok and their fear can end... cue the violin, louder,
louder, go cry, they are sad people. Through all the road blocks, street
riots, racist tension, helping one another for a moral cause, and anger,
they were all exceedingly formless and hazy... the story is important,
but the picture doesn't correspond. I sensed an immense setback at the
end of this... Cheadle impressively carries the movie, but too bad there
isn't one dazzling scene that steps further.
Final Grade: C+
The Life Aquatic (2004)
Starring Bill Murray, Owen Wilson, Cate Blanchett, Willem Dafoe, Jeff
Goldblum, Anjelica Huston
Film Prophet's Review...
As a most wanted movie, it was fairly disappointing as it didn't quite
get all the buzz it needed to get a push into an elite position, but its
recognition vanished... and Film Prophet knows why. Famous oceanographer
Steve Zissou, Murray, and his crew of Team Zissou, set sail on an
expedition to hunt down the mysterious, and maybe non-existent, Jaguar
Shark that ate Zissou's partner during the documentary filming of their
latest adventure. They are joined on their next voyage by a young
airline co-pilot, Wilson, who could be Steve's son, a journalist,
Blanchett, and co-producer, Houston. As during their journey, it is
taped for a new documentary. People in Zissou's society who watch his
premieres are dull and critical who possess elegance and class while
Zissou's dress code for his crew dresses in red knit caps, go shirtless,
and wear Speedos when they are on boat. The story doesn't equal the
talent on screen, however, the production design in most scenes are
fanciful. The deceptive comedy isn't present either visually or during
speech with hardly no jokes or entertainment, while the story was
heavily focused at the start on one objective of revenge. With a bunch
of numerous characters and talents, like Dafoe, there ought to be a few
amusing sub-plots, but there weren't. Dafoe and Wilson had a particular
accent and costume look unlike their predominant roles and they set for
low-key conversations. The objective was forgotten during the filming
onboard in minuscule adventures of kidnapping, bankruptcy, action of gun
violence with robbers, and sub-par drama with father and son. It's
uninteresting because the story sets up too slow and it's still
uninteresting when it did develop. They hung out and did a lot of neat
stuff with water, but didn't absorb me into the movie as much as I
wanted it too. It may well be an adult comedy from the usual obnoxious
teen ones, but it got into the little details of the characters and the
movie sank a hundred feet under water.
Final Grade: C
Garden State (2004)
Starring Zach Braff, Peter Sarsgaard, Natalie Portman, Ian Holm
Film Prophet's Review...
After spending ten years away from home, a man, Andrew Largeman, Braff,
returns to attend his mother's funeral and everyone is glad to see him
back in town Zach Braff wrote, directed, and starred in this film as he
takes the story close as possible to the interior of Largeman's mind,
conveying forgiveness and anesthesia. As a man who is very much unhappy
with less emotion living in an empty white bedroom, he doesn't have an
interest or care in the world, even during his mother's funeral, then
presumably the viewer won't either. The lingo is to some extent ordinary
amongst these conventional buddies of his. Meanwhile, profanity occurs
on the minute which gets irritating. At a party, they play spin the
bottle, inhale some drugs, get wasted, and all this time they seem
depressed, but want to deem cheerfulness. So that was the first half
hour of the film and the dialogue improved and got pleasant, but most
important, one actress in particular, even though Sarsgaard was fine,
raised the quality of this story's picture. I find it awkward in some
movies where the best piece is usually an electrifying supporting
performance, distinctive from the leading characters, arrives within the
story later. Natalie Portman's first scene, character Sam, with Braff,
caused a gigantic smile on my face as she lit up every scene, even the
ones where she is in the background. There was unsatisfying
entertainment during the period without her and her charisma effectively
pulled me back in when I was at the peak of tuning out. She emerged to
not only make me happy at last, but Largeman himself as well. As
versatile as she is, I felt and connected with her vibe. Her lovable
character is a girl who Film Prophet would like to come across one day
much so. Largeman and Sam's chemistry reminds me of Lost in
Translation's two main stars as follows where they are just enjoying
life. The movie has an unique style of grabbing one's interest of a
sense of humor too, and if one grasps it, the movie will come as a
value. They did acts people never have done before in order to ease pain
of a weird situation. The message is it's alright to do something no one
has done before as long as one expresses love in his or her life. One
scene pictures the three in the rain screaming in a void, check out the
poster for a look, which gave me goose bumps down my legs. "Goodbye Tim
- Peace out player."
Final Grade: B+/B
Wild Strawberries (1957)
Starring Victor Sjostrom, Ingrid Thulin, Bibi Andersson, Gunnar
Bjornstrand, Naima Wifstrand
Film Prophet's Review...
Professor Isak Borg, Sjostrom, is on a car trip to receive an honorary
degree for his long time work as a doctor. On his way, he decides to
visit places that had played roles in his life during his younger days.
Accompanied by his daughter in law Marianne, Thulin, he stops at his
family's summer house and the town in which he previously worked as a
doctor. His remembrance of his past becomes more intimate when he picks
up a young girl hitchhiker, Andersson, with two young men who bear a
resemblance to Borg's first love. Isak Borg is humane with his faults
and on bound to accept the inevitability of his death approaching with
renewal in his belief of existence. As Marianne tells Borg, people most
close to him have called him ruthless, selfish, and filthy rich.
Conversely, the viewers never see any reason to think so and why to
believe this because he is empty and sad. Wild Strawberries title is
such a magnificent reference to a fruit in a garden field to show an
image of happiness and the Swedish movie does it well by very clear
reminisces on Borg's memories ala A Christmas Carol, distant of reality
on what the title means and this is where the viewer gets to understand
his true past of youth and his affection on his substantial family. It's
just not him on why people dislike him as the story reflects reasons to
his melancholy state and the direction presents it great. Film Prophet
gives appreciation to the direction of the dreams he has as it is the
best nightmare sequences ever in a movie directing to things resembling
his dying stage where it's deeply poetic with abstract symbolism. The
movie's pace attracted me along with the talk and carefully, solicitous
screen write which has a fascinating story as Film Prophet was tuned
into the beautiful visuals. I found the sarcastic dialogue at few
moments intelligent and there are scenes that make more sense
representing Borg's position. It's alluring and I couldn't miss a thing
and the story gets better each scene with it's use of artistic displays
and symbolic references showing his part of general disconnect with
humanity. The score fits the ambiance beautifully in which the wonderful
cinematic setting is quite astounding and peaceful. "Goodbye father
Isak... can't you see you're the one I love? Today, tomorrow, and
forever." Everyone prevailed in their serious performances and the
finest was Sjostrom's authentic character of Isak Borg. The sound
effects are really special. At one scene, it can be in a lonely area
with quiet sound, and then perfectly centers on other sounds whether its
wind, rain, cracking of an object, or bird's chirping. I was greatly
impressed at director Ingmar Bergman's movie, a very influential person
in cinematic history where most of today's cult movies can be looked
back on his work and this movie expresses powerful themes of nostalgia,
times, and death and it's easily among the best directed movies ever
made. "All along the line, there's nothing but cold and death and
loneliness. It must end somewhere."
Final Grade: A+/A
The Asphalt Jungle (1950)
Starring Sterling Hayden, Jean Hagen, Louis Calhern, James Whitmore, Sam
Jaffe, John McIntire
Film Prophet's Review...
For a tough guy, Hayden, his thoughts of rural escape is hard to carry
out in a movie with shady characters who are trying to survive so they
plan a deal when a criminal mastermind, Jaffe, is released from jail and
arranges a crime lark. Though, he doesn't have all the sources and money
he needs, so he turns to a bookie who approaches a lawyer for money, but
he has problems of his own. As they trace their struggles on others,
they begin to have a number of troubles that delay the plan... and most
excitement in the movie. Director John Huston balances the atmosphere of
cleanness of elegant dress and wealth to a dirty, decayed urban
environment of scare buildings with hardly anyone around where they can
be found in private rooms with cigarette smoke and alcohol. It has what
a mastermind criminal plot needs, however, it's far from being a great
noir because it doesn't pull the viewer in. Everything is not simple as
it appears. The plot is addressed mainly in many talks between the men
and matters with offers and jobs that continue on to a new person to
finalize everything. The setback of the film is the talk is quiet and
somewhat mediocre and not only is there petite action, there is no music
at all to keep the viewer from departing and phasing out of what's going
on. It reminds me a lot of Kubrick's The Killing where the posse are in
need of money, making plans, on time arrangements, keeping in touch,
cutting deals to lure men into a plan, and asking for cooperation, but
nothing happens to let us know reasons on what they are obliging to
exactly and the movie is stuck in this stage for a long time. There's no
catch. The women are inarticulate to the plot as they are not alluring
as noirs turn out to be sometimes. The women's involvement hardly exists
and makes no difference while they are found in their apartments serving
no significance, apart from adding females to the film and expanding a
movie's fundamentals down. Then again, the brightest spots of the movie
are when pre-star Marilyn Monroe sparks her small amount of scenes up in
a movie that has few of them.
Final Grade: C/C+
Kinsey (2004)
Starring Liam Neeson, Laura Linney, Peter Sarsgaard, Chris O'Donnell,
Tim Curry, Oliver Platt
Film Prophet's Review...
"The idea that men need sex is a lie." The movie puts the desire to
learn back in an education. Sex has definitely carried a matter at the
end of last year at the theaters. At a look of life through behavioral
studies, Alfred Kinsey, Neeson, is a pioneer in the area of human
sexuality research as his publication of his book, Sexual Behavior in
the Human Male, was among the first recorded works that saw science
address sexual behavior - one third of men experience pre-martial sex.
As a child, his father, John Lithgow, wants the same engineering
direction for his son like him in his senior position at work. The
tormented Kinsey tries to mimic his father as he wants to study biology.
"My daughter is too fat to get a husband." As a professor, Kinsey
offered a marriage course as interest in human sexuality is produced by
his students that lead to personal interviews thus he began conducting
questioning and observing data from sexual behavior and interprets them
in a scientific way. Kinsey was the first scientist to pretentiously
make sex safe for study, as he used science lectures constantly in every
day speech. He was very embraced, wanted to experience it all, and turns
it into a project. Of course, a successful single-minded man must have
his turmoil with the media and the film delivers the tone well as people
can be offended and sex at times is painful as there is a need for
intimacy. The use of black and white color on his interview about his
life as a narrative origin starts the movie. Many insightful views about
living orgasms on Earth and how diverse they are in the most smallest
ways came from him. "To see them, you simply have to open your eyes."
The classy direction on the notorious subject without creating it
unsettling, rather interesting and witty was magnificent. Behind the
attentive music and story, what shines is the acting driven from the
script. Every cast member had the ability to make the characters as real
as possible as it excels greatly. There are powerful, motivating lines
that make up such an enlightening script. Surprises and secrets taken
from this script have averse turns and make it by no means of tedious as
the movie dramatizes the topic in extravagant detail. There are some
clever visual humorous parts where most come in bed. "It's impossible to
measure love and without measurements, there can be no science review."
The intractable connection between love and sex as a puzzle could give
heaps away, but there's plenty of more in the movie.
Final Grade: A
Mogambo (1953)
Starring Clark Gable, Ava Gardner, Grace Kelly, Donald Sinden, Philip
Stainton
Film Prophet's Review...
A motion picture directed by John Ford features a love triangle in an
adventure and romance. Film Prophet wanted to get a sight of Ava
Gardner, who has natural beauty like a Natalie Wood, in a movie and
combined with Ford, Gable, and Kelly, I made this one the choice in a
rare feature... or maybe I just haven't seen an another fresh movie with
Gable or Kelly in a long time. Not much is really happening in the
story. It's flippantly, not heavy, and slow paced. Gable traps vicious
animals in Kenya and most of the setting is a jungle and safari.
However, the skirmish is not attracting attention until the chemistry
with Gable and two women occur. The aging Gable is the man when it comes
to roles involving fascinating sagas. His character never seems to find
much interest into the heroine character as he only responds with quaint
one-liner remarks until the story evolves. Gardner, as she puts it, is
over-stimulating, with disagreements to desired wants. Grace's first
appearance was jaw-dropping because she finally arrived a bit late in
the film, but then released a lot of temper as Gardner feels she is
losing him. The cinematography doesn't capture much zest and narrative
aspects. There's a lot of still frames unnecessary with no talk, mainly
because the film is out in the nature to represent how quiet and calm
things are until humans interact with it. There's a great deal of
frightening wildlife creatures. From that comes a major downgrade to the
sound of animal's roars, but that's not the only part of the nature.
Plaintive chants of warriors from various tribes try to add realism to
the landscape environment even though it gets annoying as the Africans
are irritating with their recitals. Wildlife and romance co-existing
does not formulate a quality film.
Final Grade: C/C-
National Treasure (2004)
Starring Nicolas Cage, Sean Bean, Diane Kruger, Justin Bartha, Jon
Voight, Harvey Keitel
Film Prophet's Review...
Ben Gates, Cage, is an archaeologist looking for a legendary lost
treasure spurred by an intimate story he was told as a child by his
grandfather. He tells Ben the secret of the hiding place for the
treasure is encoded on the back of the Declaration of Independence
placed there by the founding fathers. No one would believe Ben of
course, so he and his friend, with Kruger's character involved as well,
go on a treasure hunt against an ex-friend, Bean, turned enemy astute on
his track who wants the treasure for himself. There are some side jokes
throughout all the continuous games between Cage and Bean's character
and the cast is having a tremendous time acting out their roles too. Jon
Voight is Ben's father who is not convinced that there is a treasure,
but later I was relieved when he stopped being ignorant to his son and
followed his son's protagonist beliefs. The movie is an adult portrayal
of The Goonies except its not about pirates in one underground location.
There is a ship named The Charlotte however which started the pursuit
and still has the treasure hunt curiosity to the next step after a clue
after another clue. This plot is mainly sited on Washington, New York,
and Philadelphia. The set beneath the Trinity church was daunting and
incredible. Some ideas were reminiscent from Ocean's Eleven during the
stealing of the Declaration by replaying taped videos from a linked
laptop for the live security camera crew to watch what's not really
happening. There are thoughtful ideas of what American history has laid
out for us and the movie worked over a fictional scheme on some of it
into an adventure. It contemplated me to look at the American Revolution
more closely as Ben finds clues more carefully, since all the trails and
signs relied on the character's ability to know a vast amount of
American history tales. Clever and fun... unbelievable, but its the type
of story that can pass by on screen.
Final Grade: B-
Willy Wonka & the Chocolate Factory (1971)
Starring Gene Wilder, Peter Ostrum, Jack Albertson, Julie Dawn Cole, Roy
Kinnear, Denise Nickerson
Film Prophet's Review...
Charlie Bucket, Ostrum, is a poor boy in a town stirred by a contest of
searching for one of five golden tickets hidden in the chocolate bars of
Wonka where the winners get a special tour in his chocolate factory.
However, it's not just any factory, but one with inventive gadgets and
mechanics that makes candy taking place in any child's fantasy world.
Charlie got the last ticket and he can pick one person to go with him
and he picked his grandfather, who was quite fatigue in bed, but got up
singing and dancing after believing the news. The motion picture has a
crazed sensation of enjoyment for the visitors as well as for the viewer
too... it's a ton of fun and the movie lets the fun out frequently.
There are a few kids who have unique personalities who get into the
tour. For instance, one girl is a greedy rich brat who is spoiled with a
temper and wants just about everything - Hey Daddy, I want an Oompa
Loompa... I want you to get me an Oompa Loompa right away. Charlie, on
the other hand, is unlike the rest of the children and this is where the
theme kicks in. People all face temptations and the ones who survive the
longest given that they are sincere are rewarded the everlasting return.
With all the delights and sweets the factory has placed to show, the bad
kids are transformed into a weird conduct which makes their adult
relative upset. The kids and their adult sponsors ask hundreds of
questions to Wonka where one of his responses are questions must be
submitted in writing. There are many questions for him in addition to
many ponders towards the movie itself such as there was a news crew on
scene just after Charlie got the last winner. Hey, the room is getting
smaller - yields a silly response - No it's not, he's getting bigger,
referring to Wonka entering a smaller hallway. Wilder was fantasic and
positive and remained calm during wild incidents at his tour by
children. Inspiring musical score consisting of a few, kept short for
the better, singing scenes, but all in all, they were super including
the entertaining Oompa Loompas. The film reminds me of the picture
quality in The Wizard of Oz. There's a charming musical score, but not
only that, there's many amazing ideas addicted to the production set
suitable for all ages commencing timeless imagination. The set design
was the most impressive display. A gigantic and colorful entrance to the
main part of the factory that's assembled into an all-edible candy land
with a chocolate waterfall to just about every scenery with candy
constructed is
irresistible.
Final Grade: A-/A
The Big Sleep (1946)
Starring Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers,
Charles Waldron
Film Prophet's Review...
Directed by Howard Hawks in a plot which is involved has many character
connections. A dying old man in a house of plants and flowers has two
beautiful, uncontrollable daughters who get a blackmail offer and the
old man hires a detective to get the blackmailer off them as he follows
them through a network of murders. Philip Marlowe, Bogart, is a private
detective with dignity and flair, playing the modest man to a set a
number of circumstances straight. His character is a classic protagonist
who is a sly man in charge of his own ways as Bogart's voice and
presence was captivating enough as he was in about every scene. One
daughter, Vickers, who is young, fair-haired and as Marlowe says - She
tried to sit in my lap while I was standing up. Bacall is the other
daughter who is more mature, intriguing, and seductive and has an
excellent singing scene. The atmosphere of the film is quite messy
through a couple of murders and tailing. Though, there are spiffy lines,
interesting characters and danger approaching as it's not all serious
because while on the job, Marlowe has a lightly humor dialogue. The
center stone is the acting and the best parts come when Marlowe is
talking to women who both become flirtatious developing a petite bond as
all the women are pulled to his charisma. They are all appealing
actresses and he even got a taxi driver's card with her number on it.
Well done Marlowe. His ways are baffling, but he is clever with periodic
explanations of events. Another thing is the wonderful music in the
background that builds the noir tone of the movie with anticipation.
Marlowe is drawn into more suspicious characters every twenty minutes or
so while the viewers don't notice at first sight what's to come as the
plot leads into more mysteriously outcomes.
Final Grade: B
The Bridge on the River Kwai (1957)
Starring William Holden, Sessue Hayakawa, Alec Guinness, Jack Hawkins
Film Prophet's Review...
A British prisoner of war colonel orders his men to build their Japanese
captor a railroad bridge in the jungle. The Japanese agreed upon
prisoners to be forced in labor to build them a railway and the focus on
the movie was the prisoners who try to work despite everything in their
way. The movie opens up with cross signs planted in the ground next to a
working railroad and it thrusts an extensive view with plenty of
compound talk between the always dirty and wet men. There is no
glorification for them except obedience. It's a true incident and horror
experience that was brutal and grim. During the movie, it's mentioned
that there is a deadline to finish the bridge and they are behind
schedule because they spend more time walking around and talking to each
other than actually working on the railroad. I do not remember one scene
in particular where I can say - There's a part where a group of men are
hard at work. Since this, the dialogue was repetitive about carrying out
orders from the chief Japanese colonel for over two hours. The movie
that won seven Academy awards does a boring job at showing it all.
Nothing happened in the movie as there was nothing alluring to me with
no sub-plot format. The picture itself is awful, not the story. The
message is clear, but the movie does a terrible job at addressing it.
The minimal story was stretched for over two hours. The direction was
too tight with long calm camera shots that don't usually make sense
unless much effort is digested into the talk. One thing that is
memorable about the movie is the re-occurring whistling to the railway
marching together in harmony. During World War II, allied prisoners of
war die building a railway for the Japanese. From that, when the film
ends, not one scene can be recalled that had to do with dying until the
end. The message is that the prisoners are not slaves, but British men
who helped the Japanese. It was disappointing because there's no
spectacles, rather just a straightforward historical message about
pride.
Final Grade: C-
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