Review of Reitherman's The Aristocats

This is one of my favorite childhood movies. I love it for its adventure across beautifully illustrated and colorful settings - and for the music of course. The cinematic direction does not take any risks, it very basically conveys the story. There are certain sequences though that catch my eye. For example when the two hounds are chasing the butler, the camera is at one point in front of their two side cars as the butler struggles to stay balanced on them. That whole chase sequence is fun with its quick cuts and pans. Its colors are beautiful hues of navy blues and olive greens and the farm/swamp scenery is a great fit, and the slapstick uses its surrounding well. It was awesome how the camera angles and shots could get where a live action film would not be able to get them, like when the aristocats wake up in the swamp and Barrios encounters the menacing frog with a mouth like a "hippolatamus". Love it. The geese add a great subplot to the story and give comic relief to the characters as they worry about getting home. The best scene by far though is the alley cats clubhouse jam. The way the characters just change colors was awesome and entertaining. The music was sweet and the hectic cuts to and from different characters created an exciting scene in a ramshackle party suite. It's one of the most memorable cartoon scenes I've watched. If you love adorable kittens and laughing, as well as awesome music and art, this is a pretty fitting film choice for you my friend. 

Review of Tarantino's Kill Bill

Dang. Action scripted and shot with incredible skill, creativity and humor. A classic revenge plot is twisted and colored by Tarantino in a very satisfying way. The retro looking intro with the vintage sounding track is just such a BA way to start this kung-fu themed revenge flick. Tarantino has one of my favorite artistic visions in movie making of all time. The opening shot of this movie is a flashback in black and white, a dutch angle close up of a bloody brides whimpering face. We hear and see footsteps but then it cuts back to Uma Thurmin as a handkerchief with the name Bill stitched in wipes her bloody face. Bill says some creepy things and then before Uma can finish saying "Bill it's your baby", he shoots her in the head. If this isn't an intriguing intro, I don't know what is. Not only does Tarantino create an incredible epic of an empowering woman warrior, he does it in beautifully colored and framed sequences that aren't nearly as masterful in most action movies.

My favorite scenes include the crazy 88 fight which was beautifully choreographed and the long shots that took the action in were satisfying to watch, especially when it transitioned to the snowy battle in the back. The cuts to the water fountain built suspense beautifully and the mise-en-scene was epic. The color pallets in this film are vibrant and appealing. Uma's whole look is kick butt and the Asian influences in the film are a nice touch especially since this is a homage to kung-fu movies. Another beautiful scene is when Uma goes up into the attic where Hanzo keeps his swords. The light coming in looks mystical and the slow pan to the wall of swords is epic. There are so many more wonderfully done scenes I could talk about but you could just watch it...and you really should. If you are into action flicks, Kill Bill is EASILY one of the greatest, and most entertaining.

Review of Scorsese's Taxi Driver

This movie was so enjoyable to watch. The plot unfolds in such a creepy way, and I love myself a good psycho-thriller. Scorsese focuses this masterpiece on the corrosion of a character, an insomniac named Travis. As he attempts to fight his loneliness in New York City, he can't help but get wrapped up in the corruption he sees around him. Scorsese has many scenes shot as if we were seeing through Travis's eyes, sometimes out of the taxi cab, sometimes in other situations in which he gets distracted by his tendency to focus on the negative. In one scene, he is in a diner with other taxi drivers he works with and as they talk to him the camera pans by a pimp sitting at another table to show that Travis isn't really paying attention. As the movie goes on we fall deeper into arms with Travis as he get's even creepier and rash. By Scorsese's choice of showing the film through Travis's eyes, he achieves the audiences sympathy. But sometimes its hard to watch Travis as he makes quick decisions. The convenient store scene is a beautifully lit and shot scene. The pan from Travis to the robber is awesome, and you know crap is gonna go down when you see Travis's blurry figure in the background. There are some impressive technical shots of this movie, my favorite being the slow, backwards-panning crane shot at the end coming out of the apartment. The slow pans of the bloody aftermath were well put together and edited, and coupled with the brass and harp score in the background was super eerie and ominous. The very ending where he flinches at something he thinks he sees in his rear view was an incredible touch to really give you an uneasy feeling, even after that dream-like happy ending. The lighting and colors throughout this film are marvelous, especially in the night scenes. When Travis is walking up to Sport in the final bloody sequence, the lights of the city cast an unreal aura on the scene and it has a very serious tone. Compared to other thrillers or dramas, this one is one of the best. Well played out, shot, and edited, its a comprehensive look at a mad man, and it's fantastic.

Review of Kubrick's 2001: A Space Odyssey

 Profound. This expression of humanity was one of the strangest, most colorful, and stunningly composed that I've seen done on film. It is most definitely a work of art, carefully and intensely crafted with minute detail. The whole movie builds upon tension and curiosity. Though slow moving, I appreciated the pace for its purpose in giving the audience time to take in the beautiful shots and mise-en-scene throughout. I don't think I've ever seen a movie with such epic colors and scenery - it was truly remarkable. Beginning with "The Dawn of Man", Kubrick sets up the feeling that this movie is something for the audience to observe and take in, without having to think about the relationships between characters or any specific plot. We simply sit and watch the magnificent sunrises and skies and then the behaviors of the early humans as they react to each other. 


The scene of the fateful morning the monolith appears had me in awe. The jump cut to its presence was nothing extraordinary and the shot had no unique perspective. Sunlight came down upon the area where it stood like a spot light and in the distance the sun is just rising over a beautiful light blue and yellow sky. The haunting a-capella choir in the background is building and building, as the Neanderthals scream louder and louder. The shots of the monolith get closer, slowly, and my attention was held on this alien thing, so out of place, but so masterfully framed. Finally a shot from the perspective of the foot of the structure looking up is cut to, and my jaw dropped. It was so simple but so intensely powerful and beautiful - the symmetry of the monoliths shape with how the sun sat on its edge. Then, in the next jump cut, the music stops dead and all that is heard is wind over an orange African plane. That was just…wow. The next sequence of the ape’s enlightenment and the beginning of man’s use of tools was just as stunning. The score behind all of it really drove it home. I loved the use of jump cuts to the pigs collapsing and the use of slow motion in that and the bones smashing. The close up of the ape’s face and the arms raising the bone in the air to smash gave it such a primal and violent feeling, yet coupled with the boundless sky and the epic symphony, it had such profound implications. The bone was thrown into the air, thus transitioning the film to the space age. Man had been using tools for a long time by now and it is interesting how the spaceships themselves looked like bones floating through space. The technicality of this film is insane. I was aware that this was done long before computers or digital films so the special effects were incredibly complicated…nonetheless, Kubrick and his team truly conquered the hurdles they faced and produced awe-inspiring outer space visuals, from the complicated space stations and their computer screens and graphics, to the planets and moons and nebulas that Dave observes along his journey. Not to mention that slit-scan sequence near the end…holy crap. The suspense built with Hal’s eye was so well done. After the lip-reading scene, any time Kubrick cut to the eye, you knew stuff was about to go down. Hal’s death scene was so freaky and thrilling. The slow pace was excruciating and the cuts to Dave’s sweaty, nervous face were awesome. And I haven’t even mentioned how freaking sweet the colors were throughout this film. Some of my favorite parts color-wise was the scene with Dr. Floyd and crew aboard the spaceship with the interior casting a blue light on everything, and Dave’s face in the escape pod as the neon lights changed colors on his face. 

One of the best uses of editing in the film was when Dave is going through this time warp after seeing the monolith, and the slit-scan sequence is displaying these incredible, breath taking colors and patterns while every now and again it cuts quickly to a still of Dave’s terrified face. My eyes were glued open from then until the end of the movie. Finally I want to comment on the last scene, and how flawlessly Kubrick transitions through time. As Dave is recuperating in his pod after it ends up in that surreal, space mansion, we see an older Dave outside the pod. We take on that Dave’s perspective as he walks to an entranceway where an even older Dave sits, the older Dave turns around and doesn’t see anything, so the camera then follows him. The Dave’s keep seeing themselves progressing through time, which creates a flawless transition through time instead of having to use a montage and also creates a dream-like, magic or alien effect – a feeling that some phenomena unknown to man is occurring. Overall this is not a very comparable film, its an experience unlike any other, and I don’t think it quite falls under Sci-fi or thriller because of its profound message and skillful artistry. It is simply a far-reaching, deeply reflective piece of film history. 

 

Review of Fincher's Fight Club

This film is not at all what I expected, but turned out to be one of my favorite films. The gritty attitude of the film is complimented with social commentary and philosophy that I found extremely thought provoking. The aesthetic of the movie was BA and the lighting complimented the overall tones being portrayed throughout. During the protagonist's normal life everything is washed out and fluorescent, but after meeting Tyler, the protagonists life gets a whole lot more interesting, and so does the mise-en-scene. The colors are more grimy and intense, the lighting is always beautifully done in high contrast, and the surroundings and sets are awesomely done. The clubhouse is a great central set. Its abandoned, run-down-house-turned-headquarters aesthetic sparks the interest of my inner child who wished he had a tree house when he was younger. As for the cinematography of the film, I didn't see much of anything that displeased me. The long shots of the fighters in the basement set up the scene wonderfully, and the close ups and strange perspectives were awesome as well. Like when Tyler takes the store clerk (Raymond) behind the store to make him turn his life around, the angle up at Tyler is great and the light from the store keying on Tyler's face is fantastic. The movie appropriately used slow motion, like when Marla smokes her cigarette when we are introduced to her or at the end when the protagonist shoots a hole through his own cheek. Compared to other films this is in a league of its own. Its an action-thriller that is darkly comedic but its twisted and deep plot gives it a cult movie status. The reason I liked this film so much was not only for its beautiful aesthetics, but for its memorable quotes and use of a very uncommon plot device. The sequence of the protagonists realization was an awesome use of flashback. Go see this movie.

Review of Aronofsky's Pi

Easily one of my favorite movies. This completely black and white film is much more complex than its color scheme and inlays a paranoid psycho-thriller within a surreal city scape. Aronofsky's direction is magnificent and captivating. There is an array of different kinds of shots in this movie coupled with some pretty spastic editing that adds intensity to the story. The sequence where the protagonist is walking through china town with his voice "restating his assumptions" is a great example of the experimental feel that this movie has. The shots go back and forth between a framing of the character's head as he looks at everything around him, and blurry, sped-up shots of the crowds and signs and life of the city. Then a shot of a slow zoom towards a tree blowing in the wind fades in, as it cuts back and forth between that and the character looking up at it, every time it focuses back on him, a distance is bridged and we become much closer until we are looking into his eyes. The film cuts to quick close up shots in normal scenarios, adding to the chaotic mystery of the character's mind. Like when the phone rings in his cyber-lair, it shows a very close up shot as the phone is picked up. No matter what he is doing, the camera seems to cut to something else going on in the space around him, showing that he is hyper-sensitive to his surroundings. These spastic cuts and close-ups get weirder and weirder as he becomes more paranoid about the people who are after him and it leads to some very surreal and avant-garde sequences. The brain in the subway sequence is bizzare and freaky but strangely beautiful. As he prods further and further into this brain, he keeps getting stopped by this fear, this train sound. It keeps cutting to a long shot of him from behind showing how alone he is in the abandoned subway station every time he pokes the brain. Eventually the music builds and the cuts become more frequent and it all leads up to a vision of a train rushing at him and hitting him. But then, after all of the chaos, there is a white screen for a good while, showing a complete opposite to the high contrast, high intensity shots and editing that came before it. Certainly out of the ordinary for most films I've seen. On top of the avant-garde shots and editing, there is a grainy quality to the whole film which I really like. It doesn't take away from the visuals at all, it adds a mysterious aesthetic to the whole story. If you're into thrillers, watch this film, its visual attitude, soundtrack and story are all fantastic.

Review of Sanchez's and Myrick's Blair Witch Project

Yikes. This movie terrified me...in a really well done way. The approach to this movie was genius, when the hand-held aesthetic was at its infancy. Because of how it was shot, this film puts you deep into the forest with the characters, with no hope, only fear. Starting it slow, building up the mythology of the witch was a good move and added to the uneasiness that builds for literally the entire movie. The relationship between the three students gets strained the longer they are out lost in the woods. First it was Heather's over confidence that got the boys mad at her, then Mike's stupid, stupid, stupid move to kick the map in the river really corroded the character's morale as their behavior gets more and more unnerving. Showing a slow tense build during the day times made it almost unbearable to watch when the night vision came on. The intensity was built incredibly well with the shots of the character's reactions to what was happening to them and made me cringe every other step they took towards nothingness. The infamous closeup shot of Heather's face as she breaks down and hyperventilates was bone-chilling. Her face covers half of the frame while pure blackness fills out the rest, and you just feel something lurking there the entire time. This shot goes on for so long and its almost unbearable to watch. If you are in for an adrenaline trip, watch this movie, it's horrible...in the best way possible.

Review of Tarantino's Reservoir Dogs

This is one of my favorite action/thriller movies. It's so aesthetically cool and gritty and the plot is beautifully conveyed by Tarantino. The whole sub-genre of heist films are entertaining to me and this is one of the most skillfully done heist movies. It isn't too complex, but the plot gets twisted and tangled and the use of flash backs and forwards are captivating. Tarantino's direction focuses the story on the characters and their relationships to each other more than anything else. The opening scene is dialogue between all of the crew at a diner roundtable. Tarantino's character is going on about his theory on Madonna's song, while we get the rest of the characters' reactions, which gives us a nice introduction to each personality. The next scene is a flash forward to Mr. Orange dying of bullet wounds while Mr. White drives him to the rendezvous. A huge plot device of this film is Mr. Orange's relationship with Mr. White, and how Mr. Orange earns his trust throughout the days this all takes place. Another plot device is the relationship between Joe, his son, and Mr. Blonde. Mr. Pink serves as the remaining crew's lone wolf and wild card. Because of Tarantino's intense focus on character relationships and back stories, the story tells itself when the trust of each member is in question. Sides are taken and guns are drawn. An interesting element throughout the events is the 70s songs on the radio because of the radios special 70s weekend. It certainly sets a tone when the psychotic Mr. Blonde starts to torture his victim while "Stuck In the Middle With You" comes on. The lighting in the rendezvous spot gives the location an intensity and eerie-ness with its bold shadows and the dirtiness of the place is perfect mise-en-scene for the violence that takes place within. The club scene where Mr. Orange convinces the crew of his legitimacy with his fake story is very creative. The red back lighting and the white key light looks fantastic on the characters and I love how Tarantino uses a symbolic story (trying not to get caught by the cops in the bathroom) that parallels him not trying to get caught by the crew. The slow motion of Tim Roth drying his hands and looking over his shoulder as the three cops stare at him is directly symbolizing the intensity he feels while telling that very story. By the end, Tarantino wraps up the characters so tightly that they snap, and the only survivor is Mr. Pink. The cinematography fits this intense thriller beautifully, a must-see by all means.

Review of Shyamalan's Unbreakable

This was not the kind of superhero movie I expected, but it certainly kept me interested. I did not love this film, but I was intrigued and thought it was skillfully shot and put together. This whole movie felt like a superhero's flashback origin story, and was portrayed in a way that felt like the two sombre, moody pages in a comic book that give insight into the protagonist's painful past. Shyamalan's direction conveyed a cold, mysterious universe in which Bruce Willis plays a superman that doesn't know he is superman. The film is mostly composed of slow pans and long stills and has a slow tempo throughout. Even the most tense scenes use a long take, taking the whole scene in and showing Willis from medium or long shots as he reacts to what is happening. This tempo really had the emotion of the film drawn out and intensified, which I liked. For example, in the scene where Willis goes into a house to try and save a family from a murderer, the camera stays with Willis as he sneaks through the home in an incredibly tense sequence. When he is strangling the murderer to death, the camera doesn't cut, it stays in an overhead angle, taking every moment of the uncomfortable, gritty murder in. Or near the ending when the hero's son almost shoots him, a somewhat shaky camera glues itself in the corner of the kitchen as it pans back and forth slowly between the child aiming the gun, and Willis and his distressed wife. The lighting was also something I really liked. Though the colors mostly consisted of a cold palette, it had a genuine feel and paralleled the protagonist's conflict with his stressful life. Everything looked intense and epic, which is certainly fitting for a gritty superhero film. Compared to other thrillers, this has a calmer presence but compared to other superhero movies this was a fresh take on your typical action movie and I was impressed by the artistry in the cinematography.

Review of Docter's Up

This movie speaks to me in a profound way. Its wonderfully imaginative animation and incredible story is a sincere look into human love and life.The direction of this film coupled with the editing of sequences gives this movie such a fluid feel and there is never a boring moment. The "married life" sequence of Carl and Ellie is one of the most beautifully done time lapse sequences I've seen in a movie. It gives me chills every time I see the progression of the couple from newly weds to finally Ellie's death, the mood is set so skillfully. The symmetry of each shot, from the wedding alter, to the house, to the chairs, to the zoo, to the family room and the funeral alter, ties the movement of time together very well. The colors and lighting in every shot parallels the couple's experiences in life. Everything in the beginning is bright and warm and colorful because Carl and Ellie are overjoyed to be together. The slow pans show a pace of life that the couple is comfortable with. A very symbolic shot is the pan from the painting of the wide-open newborn's room, to the claustrophobic obstetrician's room. The colors go from vibrant and diverse to cold and grey, and without any dialogue, the bad news is easily understood and conveyed to the audience. Music is super important when trying to communicate mood in film, and this whole sequence has no dialogue, only music. The score imparts tone so impeccably; when life is good and things are upbeat, a full ensemble and upbeat tempo accompany the couple. When things are sombre or humbling, a stringed instrument or piano plays the haunting melody at a much slower tempo, and the transitions change from jump cuts to fades. Not only is time changed through appearance of the characters its also told through lighting, like in the jar/coin collecting sequence, or with style like in the creative and genius tie sequence. I know I have focused on this beginning sequence, but the whole movie is filled with incredible color and mood and music, and the dialogue between Russell and Carl is heartwarming to say the least. This is a feel-good movie and is one of the better animated movies I have ever seen.