Tuesday, September 16, 2008

MOVIE-MAN MOVIE REVIEW: "RIGHTEOUS KILL"

Back in 1995, fans of The Godfather, Taxi Driver, Scarface, and Raging Bull flocked to and flooded theaters across the country. The hype could not have been bigger surrounding the first movie in which Al Pacino and Robert De Niro would share the same screen together. People could not wait to see Tony Montana/Michale Corleone and Travis Bickle/Jake La Motta going head to head on the big screen in Heat. Though the movie experienced impressive critical acclaim, fans were disappointed in the limited screen time which De Niro and Pacino shared together.

It has been thirteen years since Heat was brought to the screen and the right Hollywood elements have been assembled, again, to bring these two heavyweights of cinema together for another big screen outing. This time they come together as two cops who have been partners for years with the NYPD in Jon Avnet's crime drama, Righteous Kill. As NYPD detectives Rooster and Turk, Pacino and De Niro are trying to track down a serial killer who seems to have taken justice into their own hands by targeting criminals as their victims. The two detectives are conflicted in their investigation; how passionate can a detective be about hunting down someone they feel is doing a service to the community and to the human race, even though how they are going about it is against the law? As the investigation progresses and the plot twists and turns (as all crime drama and thriller plots usually do), the detectives begin to suspect that it may be one of their own behind the killings.

Once again, the hype around another movie that is pairing these two titans was extremely high. This time it seems that the lesson was learned from Heat and Pacino and De Niro are in almost every scene together and they are rarely seen apart. Do they play off each other as we would expect them to? Sure. The charisma and intensity that both are known for are there and neither one tries to override the other, proving that both of these men are two of the best actors in American cinema. The director, Jon Avnet, knows just what these two men are capable of and what they are individually good at. De Niro is in his element as a tough guy who rarely shows vulnerability and sensitive emotions. As for Pacino, I was so glad to see Avnet use his distinct comedic ability, which, in my opinion, is the one thing that makes Pacino such an amazing actor. He has subtle ways of drawing laughs that leaves me in awe of his acting ability. His character's wise-cracking one-liners and obvious intelligence play the perfect brain to the De Niro character's brawn.

Performances aside, the movie took at bit too long to develop into the slick, well-balanced movie you would normally expect. The first half of the movie seemed disjointed and, at times, it was hard to follow the chronology of the scenes. This seemed to stem from a combination of poor editing choices and some flaws in the script construction. These are not detrimental flaws by any means, but it made an already involved plot difficult to follow. These problems seem to work themselves out later in the movie and it continues in a more or less linear fashion to the ending. The premise of the story works quite well and, as in most crime thrillers, the plot draws you into trying to figure out who the killer is before it's revealed (it was a little too easy for my taste, but interesting nonetheless).

What intrigued me most about this film was one of it's underlying themes: Right vs. Might. Can Might truly make Right, or does Right make Might? This moral dilemma has its roots all the way back in the legends of King Arthur. The Right vs. Might struggle was the central theme in T.H. White's classic Arthurian novel, "The Once and Future King." King Arthur and his knights were conflicted as to whether they should use their Might (strength, power, violence) to make peace and make things Right, or whether to always do the morally Right thing and that would make them Mighty among men.

This is the dilemma that the characters in Righteous Kill face, not to mention real detectives and police officers everyday. Is taking justice into our own hands and using our Might the Right thing to do? Or should we trust in the law and in what we know is the Right thing to do? For this movie, the answer to these questions ultimately determines what kind of person you are. From the beginning of the film, we have some ideas as to where the characters stand on this issue. But, this movie makes it clear that you cannot always assume the answer to these questions by looking at the way someone outwardly appears.

I am awarding Righteous Kill with three stars. With more conscious editing, it could have been an even better film. Despite that fact, it was an entertaining film and fulfilled it's role as a crime drama/thriller. Al Pacino and Robert De Niro do what they do best and meet up to the expectations that movie audiences have had since Heat. I realize that many people will be going to see this movie just because of the pairing of these two again. While this is, indeed, an exciting experience, try and listen to what the movie is trying to say and the reactions it draws from you. You might just learn something about yourself.




































Until next time....



P.S. The introductory post for the next Freedom Film Series next month should be up tomorrow and the fliers will be up around the library as well. Hope to see you there!



Monday, September 15, 2008

CHARLOTTE FILM FESTIVAL

In the midst of preparing my next Movie-Man Movie Review and gearing up for the next Freedom Film Series next month, the third year of the Charlotte Film Festival almost passed me by. When I found out that Charlotte was starting their own film festival a couple of years ago, I was thrilled! Film festivals are such an important part of any city's artistic community and Charlotte's artistic community is moving in a very positive direction.

Film festivals can be a whole lot of fun and they are incredibly important and meaningful to the filmmakers whose work is getting exposure. Festivals provide the opportunity for virtually unknown filmmakers to display their talents and projects they have spent precious time and money on. Festivals also provide a venue for like-minded movie enthusiasts to get together, socialize, and indulge in their greatest love: watching movies; and not just the typical Hollywood stuff that the market and the theaters are always flooded with. You can always count on festivals to draw some good independent films and documentaries and every once in awhile you stumble upon and see a really good movie before it's discovered and given a big national release (I love that feeling). These film festivals also give you a way of giving back to the artistic community and helping out struggling filmmakers who are actively pursuing their passions and dreams.

The 2008 Charlotte Film Festival looks like it's gearing up to be a great one. I have recently visited their website and it's filled with good information on the different movies that are being shown, the panel discussions, and the different venues being utilized. After reading through the list of entries this year, I can tell that there is going to be some very good filming-making to be found and good movie watching to be done. I want to point out, again, that these are not the typical Hollywood mainstream movies. I don't want people to go in expecting the big blockbusters with recognizable stars and then find themselves watching movies with limited budgets and unfamiliar faces. That's the point of film festivals, to give unknowns the chance to shine. I say this not to deter people from attending by any means, but rather to inform people of what to expect. I truly hope that every film screening is sold out!

As I mentioned earlier, the festival's website has all the information you would need to know about what films are showing, when and where they're showing, and how to buy tickets. The ticket prices are quite reasonable considering what movie ticket prices are like today. As with most things these days, tickets are cheaper if you buy them ahead of time online ($6.50), but still pretty reasonable at the door ($8.00). There are also some good deals on ticket packages. Personally, I went with the 5-Pack deal, which gives you 5 tickets for $26 (online) that you can use towards any movie during the run of the festival.

The Charlotte Film Festival is running September 25-28 and a total of 70 narrative, documentary, and international films and short films will be shown over these four days. Find some time in your schedule that weekend to get out and see at least one of the movies this year. I'm sure you can find something you like. I mean, there are 70 of them.....











Until next time....


P.S. My Movie-Man Movie Review of the current release Righteous Kill will be posted very soon.

Thursday, August 14, 2008

FIRST ONE IN THE BOOKS

Well folks, the first ever Freedom Film Series came to a close last night as we had a nice sized crowd for our screening of Alfred Hitchcock's Rear Window. Last night's screening ended our four week series celebrating Alfred Hitchcock. I was really pleased the reception the Freedom Film Series has received so far and at the numbers we have been getting. Of course, we can always hope to do better. Once again, I would like to thank everyone here at the library that helped contribute to the film series in any way and I would especially like to personally thank those who make sure the library basics get done while I am screening these movies for two hours. Thank you!

Now, ladies and gentlemen, it is time to say good-bye to Alfred Hitchcock (for awhile at least) and look forward to the next Freedom Film Series on the horizon. Our next series will be in October when we will be screening five consecutive weeks of classic and contemporary scary movies. I am not releasing that months screening schedule yet, but keep an eye out for it and the introductory blog post for that series in mid-September. So, I want everyone to mark their calendars and keep every Wednesday night in October open for our Halloween Movie Madness Film Series!


Until next time....



P.S. My next Movie-Man Movie Review should be coming soon.

Thursday, August 7, 2008

F.F.S. HITCHCOCK: "REAR WINDOW"

Well ladies and gents, our first Freedom Film Series is coming to a close and it has been an encouraging and successful experience. With the turn-outs we have had so far, I am confident that we will continue to have audiences for the other Freedom Film Series that I have planned for the library. Thank you to everyone who has come out to see one of the Hitchcock movies we have shown so far and to those who will be coming to see Rear Window on August 13. I would also like to take a moment and apologize to those of you who came out to see The Birds last night. We made it half-way through the movie when we had to close the library early because of the broken air conditioner. I was incredibly disappointed that we were unable to finish the movie for you and I hope it does not stop you from coming out to next week's screening.

Speaking of which......

Our final screening in the Hitchcock-themed Freedom Film Series will be Rear Window (which happens to be my personal favorite.) Rear Window had its original premiere in 1954, but was stored away shortly after the premiere. It and four other Hitchcock films were locked away and were prevented from being released because of a dispute over rights. These films became known as the Five Lost Hitchcocks and would not be seen for almost 30 years. After that 30 year span, the disputes were settled and the five films were all re-released around 1984. Rear Window stars two Hitchcock regulars, James Stewart and Grace Kelly. Thelma Ritter and Raymond Burr (that's right, Perry Mason) also provide excellent supporting performances. The movie was nominated for 4 Academy Awards, Best Director, Best Color Cinematography, Best Screenplay, and Best Sound. Though most critics believe that Vertigo was Hitchcock's true masterpiece, Rear Window is considered one of the greatest movies of all time. As proof, it holds the #48 spot on the American Film Institute's list of the Greatest American Movies of All-Time.

James Stewart plays L.B. Jeffries, a photographer for National Geographic. When we meet him, he is confined to a wheelchair in his apartment because of a broken leg. He is being cared for by a home care nurse (Thelma Ritter) and his fashion model girlfriend (Grace Kelly). Since he is extremely limited to what he can do, Jeffries often finds himself looking in on his neighbors with the use of one of his larger zoom lenses. Through his lens, we, as the audience, get to meet his neighbors and get a glimpse into their lives. We also witness, along with Jeffries, what appears to be foul play involving one of his neighbors (Raymond Burr) murdering his wife. Jeffries does not know for sure whether she has been killed, but becomes increasingly obsessed with finding out the truth. He becomes so obsessed, in fact, that he begins to ignore his girlfriend and even asks her to go in harm's way by searching the adjacent apartment. All of this leads to a suspenseful and thrilling conclusion that has the audience on the edge of its seat.

Technically, Rear Window has some of the most impressive, yet subtle, distinctions out of all of Hitchcock's movies. The entire movie was shot on one set, and it was the biggest set at Paramount Studios at that time. Not only was it shot on just one set, but it was shot (for the most part) from a single perspective. Except for a couple of shots near the end of the movie, the entire film is shot from the James Stewart's perspective; basically the view from his apartment window. We do not see the apartment courtyard or the inside of the apartments from any other vantage point. Hitchcock even went as far as to only direct and work from that apartment and would not work from anywhere else. The actors in the other apartments were given earpieces so that Hitchcock could radio to them his directions.

All the technically aspects, along with the nature of the plot, place the focus on one of Hitchcock's favorite themes: voyeurism. Normally, voyeurism is combined with the objectification of women in Hitchcock's movies, but this time it is based on obsessive curiosity. Because the audience sees only what Stewart's character sees, the audience shares the burden of his fears and his anxiety as he is trying to piece together what has happened in Burr's apartment. Each person watching the film becomes Jeffries and is subjected to the consequences of his voyeurism and curiosity. This is what separates Rear Window from Hitchcock's other films, and other films in general. The film absorbs us into itself and we have no choice but to wait, agonize, and watch along with Jeffries.

So, come out and celebrate the closing of the first ever Freedom Film Series, as well as celebrate Hitchcock's 109th birthday! Rear Window will be screened at 6:00pm in the Freedom Regional Library Community Room on Wednesday, August 13th. It will be free of charge and there will also be free popcorn served! Hope to see you there.


















Until next time....

Thursday, July 31, 2008

F.F.S. HITCHCOCK: "THE BIRDS"

Well, we are now half way through the first Freedom Film Series and things have been going smoothly. I hope that those who were able to come and watch Vertigo enjoyed themselves and enjoyed the movie! For the third installment in the Hitchcock film series, I will be screening another one of his more well-known movies. It proudly takes its place among the greatest thrillers of all time and, like Spielberg's Jaws, gives us yet another reason to fear the coastal areas. For next week's screening, we will be watching Alfred Hitchcock's The Birds.

The Birds was originally released in 1963 and was the very first movie to be released under Universal Pictures new name (the studio's previous name was Universal-International). The film stars Rod Taylor, Jessica Tandy, and Tippi Hedren in her big screen debut (Hitchcock found Hedren through soda commercial on the "Today" show; and the Hitch has always had a thing for blonds). The Birds received an Oscar nominations for Best Visual Effects, but lost to Elizabeth Taylor's Cleopatra. This movie was, again, based on a Daphne Du Maurier story; Hitchcock would make three of Du Maurier's stories into movies. The entire movie, interestingly enough, has no musical score whatsoever. There are only the typical ambient sound effects, the sounds of the birds, and various other sounds mixed together with the use of an electronic mixer and placed at strategic moments in the film. In my opinion, this adds tremendously to the creepiness of the film, as well as the tension.

As far as plot is concerned, it is extremely basic for a Hitchcock movie. In a nutshell, the characters played by Rod Taylor and Tippi Hedren meet in a pet shop in the city and there is an instant and innocent attraction (typical boy meets girl scenario). Hedren is invited for a visit to Taylor's home, which is in Bodega Bay right on the coast. After we have this established, the only thing left to say is BIRDS ATTACK! The characters in the film have no idea why the birds are behaving the way they are and, as the audience, neither do we. This is, I believe, the key to what makes The Birds such a terrifying movie and experience. What is more unnerving than the absence of reason, the inability to explain why things are happening? What is more frightening than the unknown? I think this is the point Hitchcock was trying to make with this movie. One does not need intricate and involved plot twists to create a fearful experience. As with most things in this world, simplicity does the trick nicely. All Hitchcock needed to was take animals that are a part of our everyday lives and make them behave to the opposite extreme that we are used to.

Technically, The Birds was quite unique for its time and this was recognized with the Oscar nomination. The bird attack scenes were a combination live animals, puppets, and fake birds on strings. In some of the scenes, birds were even attached to actors' clothing in order to keep them in camera frame and close enough to the actor to make the attack realistic. In some of the scenes of the movie, there are very large numbers of birds, specifically sea gulls, just sitting still ominously. It is hard to imagine how bird handlers would be able to get that many birds to remain that still long enough for filming. According to one of the actors, Rod Taylor, the sea gulls were fed wheat and whiskey so they would remain still and docile long enough to get the shots needed. I seriously doubt any other animals in any other movie were treated quite so well.

As for its critical acclaim, The Birds is considered to be one of Hitchcock's somewhat lack-luster efforts. That's not to say that critics think it is a bad movie; just that it seems a little inferior to some of his other more involved films. In this respect, the critics are right. If you come into this movie looking for a classic Hitchcock twist and turn plot, you are going to be disappointed. What the critics do agree on, however, is that The Birds is one incredibly eerie and chilling movie experience that is not easily forgotten. Hitchcock, himself, is famously quoted as saying: "It may be the most terrifying motion picture I have ever made." It is a movie that preys on one of the basest fears of human beings. The fear of nature outside of our control, of nature asserting its place of dominance on the planet. The fear that we humans may not be as high in the pecking order as we think.

Come out and join us on Wednesday, August 6 at 6:00pm in the Freedom Regional Public Library Community Room for our screening of The Birds. The screening is free of charge and open to everyone. Hope to see you there!


















Until next time....

Thursday, July 24, 2008

F.F.S HITCHCOCK: "VERTIGO"

A big thanks goes out to the people who came to our opening night screening of Rebecca in the Hitchcock Freedom Film Series. And thanks to those who helped me get the movie going! If you came out to see Rebecca, and even if you didn't, I hope you'll plan on making it to our next Hitchcock movie, Wednesday July 30. Next week, we will be venturing into more familiar Hitchcock territory with the movie Vertigo.

Vertigo was originally released into theaters in 1958 and stars Kim Novak and the Hitchcock regular, James Stewart. Although the film earned itself two Oscar nominations, it was initially given less than stellar reviews by critics and was generally disliked in its early days. As a fine wine, however, Vertigo has aged extremely well. It is now considered one of Hitchcock's greatest movies if not THE greatest movie he has ever made. A combination of staggering performances from Stewart and Novak, innovative camera work, and the always involving and suspenseful story we come to expect from Hitchcock make this one of the most memorable thrillers in film history.

To give a brief description of the plot....James Stewart is a San Francisco detective who is hired by an old school friend to follow his wife (Kim Novak) for fear that she is losing her mind and may be suicidal. As he follows her around town, Stewart's assignment becomes an obsession as he becomes enamored with the blond-haired beauty. As his obsessions grow, Stewart comes to realize (in typical Hitchcock fashion) that things are not always what they seem. If anymore of the plot is revealed, it would ruin the movie. The real thrills come from following the numerous twists and turns and watching Stewart become helplessly entangled along with ourselves. If you're wondering what part vertigo actually plays in the movie, it's somewhat small. Stewart's character does have a somewhat severe case of vertigo, but it is only mentioned in conversation once in the film. (Vertigo, by the way, is a stark dizzying sensation one feels while on completely stable surroundings. It is mistakenly thought to be a fear heights; extreme heights merely cause a more severe attack of vertigo.) The reason for naming the movie as such comes from the way Stewart's mind is twisted and spun in obsessions with Novak.

Vertigo was listed at #61 on the American Film Institute's Top 100 American Movies and deservedly so. It stands out from the rest of Hitchcock's other films in its technical work and the nature of its characters. Hitchcock and his cinematographer, Robert Burks, created what is today called the contra-zoom or trombone zoom and they used this type of shot to create the sense of vertigo. Basically, the shot involves zooming out the camera lens while tracking, moving, the camera closer to what you are filming. It is used on a regular basis today in order to capture similar sensations. The characters also stand out in Vertigo more than they do in Hitchcock's other films. The characters are overall darker than what we are used to in Hitchcock, even the ones we are supposed to be in support of. Perhaps this is why most critics believe this movie is his masterpiece. It offers us something that we are not expecting.

So, if you have seen Vertigo before, or you have never seen any of Hitchcock's movies at all, come out and join us for a screening of Vertigo in the Freedom Regional Public Library Community Room at 6:00pm on Wednesday, July 30. The screening will be free of charge and open to the public. Join us for a good movie and a good time!



















Until next time....

Tuesday, July 15, 2008

F.F.S. HITCHCOCK: "REBECCA"

I have been eagerly awaiting, as I hope many of you have as well, the first screening of the very first Freedom Film Series program. As we already know, the theme for the first Freedom Film Series is Alfred Hitchcock and we will be spending one night a week for four weeks watching four of his best films. The first film that I have chosen to show in the Hitchcock program will be Rebecca. The film was originally released in 1940 starring Laurence Olivier and Joan Fontaine and it was the first movie that Alfred Hitchcock made in Hollywood (after making the move from Great Britain to the U.S.).

Rebecca is not one of Hitchcock's more well-known films, but was, nevertheless, quite successful and critically acclaimed. In 1941, it was nominated for a total of 11 Oscars and came away with the Best Cinematography, Black and White and Best Picture awards. This would be Hitchcock's only Best Picture win out of the many times his films earned that nomination. Three of its Oscar nominations were in the acting categories. Joan Fontaine and Laurence Olivier were both nominated for Lead Acting awards and Judith Anderson earned a Supporting Actress nomination. Hitchcock was also nominated for Best Director, but had to settle for the Best Picture award instead.

The movie is an adaptation of a Daphne Du Maurier novel of the same name and is an eerie Gothic, suspense tale. Without giving too much of the plot away, the story centers around a young, naive, lower class girl (Joan Fontaine) who meets a young, rich widower, Maxim de Winter (Laurence Olivier) and they immediately fall in love and marry. Soon after moving into the large estate of her new husband, the, now, Second Mrs. de Winter finds that the atmosphere she is met with is anything but hospitable. The housekeeper, Mrs. Danvers (Judith Anderson), is the primary source of this unwelcoming spirit. Mrs. Danvers was, and seemingly remains to be, devoted to the First Mrs. de Winter and disdains the new-comer. As the movie progresses, we learn that the death of the First Mrs. de Winter is shrouded in mystery and Joan Fontaine spends most of her time trying to figure out what has really happened and why the house is so haunted by the memory of her predecessor.

Rebecca is an extremely atmospheric film that successfully evokes creepy chills from the audience. Hitchcock's choice to shoot the film in black and white is one the biggest contributing factors to the Gothic feel and aura and, according to Hitchcock, was the only way that the mood of the book could be translated into film. The movie is filled with great performances, a suspenseful story, a chilling musical score, and is beautifully shot. In other words, it is classic Hitchcock. And, of course, there is the classic Hitchcock cameo near the end of the movie. But you'll have to actually come to the screening to see for yourself.

The movie will be shown on July 23 at 6:00pm in the Freedom Regional Library Community Room and it is free of charge. Come on out for a good movie and a good time!!























Until next time....