Moonrise Kingdom (2012) review [Revisited]

(10/10)

     Wes Anderson's Moonrise Kingdom is whimsical, awkward, and nostalgic enough to create a warm, childlike love story driven by adolescent fantasy. The many skilled performances and distinct characters suck the audience in and takes them on journey through waves of charming, childlike wonder. Anderson personifies the emotional impact of the nostalgic charm of a young adolescent love story.

PLOT: On a peaceful, suburban island in 1965, two twelve-year-olds fall in love and become pen pals. Eventually, Sam (Jared Gilman), the unpopular, orphan boy scout, and Suzy (Kara Hayward), the neglected child looking for an escape, meet up in the wilderness and run off on an adventure all their own. The two lovebirds travel all over the island, finding out new things about life, the world, and each other, all the while being tracked by several parties. Scoutmaster Ward (Edward Norton) and the rest of his scouts have set out to find Sam and bring him back, while Suzy's father, Walt (Bill Murray) and Captain Sharp (Bruce Willis) search for Suzy. The two have the time of their young lives as they flee the island from adulthood and responsibility. The plot is very well thought-out yet basic at the same time. The plot is mainly an awkward, childlike love story, but the several twists and turns as well as the moments of intimacy between the two adolescents make it work. The audience is left intrigued yet surprised and cheerful yet awkward - just as the spirit of this film suggests.

ACTING: One aspect that kept the audience hooked deeply into the story is the expert performances from the all-star cast as well as the young leads. Jared Gilman and Kara Hayward did fantastic jobs as the infatuated main characters, Sam and Suzy. I believe no young actors could have portrayed these two adolescents as solidly and fittingly as these two. Aside from the young leads, the all-star cast was pretty fantastic. Bruce Willis did a great job at his calmer role of island cop, Captain Sharp, and Bill Murray played his part excellently as the cranky, disappointed father, Walt Bishop. These two in addition to the quirky Edward Norton as Scoutmaster Ward did fantastic jobs with their unique and more serious and subdued roles. Other shining performances also come from Tilda Swinton as the Social Services worker, Frances McDormand as Mrs. Bishop, Jason Schwartzman as Cousin Ben, Harvey Keitel as Commander Pierce, and Bob Balaban as the Narrator. Every big name actor and actress in this film plays a more obscure and subdued role, almost to ironic conditions for some roles.

SCORE/SOUNDTRACK: The soundtrack and score behind Moonrise Kingdom is just as elegant and flowing as the film presents itself. A collection of classical and quirky compositions make up the majority of the soundtrack, adding a touch of elegance and whimsy throughout the film. The soundtrack also makes the use of some well known artists, like country master, Hank Williams, and elegant composer, Alexandre Desplat.

OTHER CONTENT: The elegance and whimsy through which Wes Anderson crafted this masterpiece is a fleeting emotion not often accurately captured through the movie medium. This film represents the lovesick romances each of us has probably experienced with someone in our childhood. The human race's perception of relationships in an adolescent mind is the subject matter of this film, and Anderson captures that fleeting, nostalgic emotion as tangibly as a butterfly in a net. There's just the right amount of charm, awkwardness, innocence, and nostalgia to bring a wise mind to tears. Anderson captures this accurately from proper casting and script-writing to the elegant score and smooth cinematography. Each shot has a clear, colorful focal point and is smooth and almost Kubrickian in its favor of long, clean shots. Ultimately, Moonrise Kingdom is an anthem for the spirit of adolescent fantasy and relationships, told in an elegant yet basic way.

     Some films attempt to go beyond expectations and catch an entirely abstract emotion on film. Not many filmmakers succeed, and those that do are truly skilled. None other than the quirky Wes Anderson achieve the capture of the fleeting spirit of inexperienced youth, especially in such a smooth and personal manner. An enthralling cast of characters help in capturing the audience's attention and the quirkiness of the junior love story anchor them to the screen, filling them with both joy and awkward intrigue. Moonrise Kingdom is as full of whimsical spirit as light- pleasantly warm but passing much too fast, leaving little trace that it ever existed in the first place.

It's a Wonderful Life (1946) review

(10/10)

     More than just a charming holiday classic, It's A Wonderful Life teaches one of the most valuable lessons of life in a distinct, warm way, making it likable for everyone. There's enough feel-good moments to satisfy the casual moviegoer and enough dark moments of realism to satisfy the analytical critic. Perfectly-done performances and solid direction make the film as truly wonderful and effective as it wants to be. 

PLOT: George Bailey (James Stewart) has had a major impact in his friend's and family's lives though he doesn't realize it. From saving his little brother's life and a drugstore manager's job to managing the money and housing of several locals including his family, George has left a major impact on the town in which he lives. In fact, his family business, the Bailey Building and Loan is the only one with enough honor to run independently from greedy businessman, Mr. Potter (Lionel Barrymore). However, George has a a bad day on Christmas Eve when his Uncle Billy (Thomas Mitchell) loses his business' money for the bank examiner and gets the business in trouble with the law. George, after lashing out on his family and getting in a fight at the bar, debates throwing himself off a bridge, prompting his guardian angel, Clarence (Henry Travers), to travel to Earth to save him. After the two begin talking, George says he wishes he would've never been born, which Clarence makes a reality to prove to George that he's had a major impact on his society. Now, George must navigate this alternate world and realize his worth under the guidance of his angel, Clarence, yearning to earn his wings through this task. The plot is very well done with just enough charm and with to balance out. There's an ample balance of everything in this film. There's enough moments of uplifting Christmas charm to match the moments of serious reality when George debates his existence. The film proves to be just as much a holiday film as a basic fundamental lesson for a good life. 

ACTING: The performances in this film are very excellent for their time. James Stewart steals the show as the main character, George Bailey. Stewart plays the role as natural as if he were living it, making it as iconic as it is fitting. Other great performances came from Lionel Barrymore as greedy Mr. Potter, Thomas Mitchell as forgetful Uncle Billy, Henry Travers as Clarence the angel, and especially Donna Reed as George's wife, Mary. The two had a very visible chemistry in the film, setting the standard for cinematic romance with memorable dialogue and charm, as well. 

SCORE: The memorable score done by obscure, foreign composer Dimitri Tiomkin, is quite warm and elegant, like that of most cinema in its time. However, the film does bear a fairly memorable end scene with a simple rendition of "Auld Lang Syne". 

OTHER CONTENT: During this time, this film was probably peaceful message to everyone, giving off the Christmas spirit most had yearned for. It's A Wonderful Life is just what it wishes to be: wonderful. Even though it gets dark at times, it finishes with a feel-good feeling outdoing any other Christmas film to come. The film is its own Christmas Carol, molding the dark to make the light, which is what the holiday feeling is anyhow: being light in times of dark. 

     It's A Wonderful Life is a must-see holiday film for audiences of all ages. There's enough Christmas charm for the sentimentalists, enough dark seriousness for the more critical, and enough meaning for the skeptics. The film presents a perfect balance of all cinematic elements, letting it become just as effective a stand-alone film as a Christmas film, which is what is truly wonderful in the end. 

One Flew Over the Cuckoo's Nest (1975) review [Revisited]

(9/10)

     One Flew Over the Cuckoo's Nest is a fantastic film by itself with brilliant performances, script, and film-making. However, in comparison to its source material, it falls a tad flat and unreliable, We lose so many key elements of the theme in the onscreen transition, but gain clarification for the more underlying ones.

PLOT: Randall P. McMurphy (Jack Nicholson) is transferred from a prison work farm to a mental institution after the authorities determine him potentially insane. The asylum, led by the all-powerful Nurse Ratched (Louise Fletcher), takes McMurphy in for an observation period in which he decides to attempt to turn everything upside down and take over. From day one in the asylum, McMurphy tries to manipulate the patients and get under the Nurse's skin. McMurphy tries to prove his insanity, by doing things such as imagining the World Series and teaching the deaf Chief Bromden (Will Sampson) to play basketball. From here on, it's a straight battle between McMurphy and the Nurse as well as between thought control and mental liberation. The plot, just as in the novel, is excellently crafted and well-thought out. The film adds its own twists on a few things, neglecting ones from the book, but nevertheless clarifying a few things the audience may have missed in reading the novel.

ACTING: All of the performances in this film are brilliant and well-worthy of their recognition. The great Jack Nicholson acts in what may be his best role in comparison to The Shining in the eighties. Through his portrayal, the audience is led to believe that no one could have done it any better. Nobody could have been as loud, proud and insane in such a way as he was in this film. Louise Fletcher also did a fantastic job, responding to Nicholson's character accurately as possible. She probably fits the novel's portrayal of her more accurately than Nicholson as McMurphy. Other key performances in this film would include early roles from acting legends Christopher Lloyd as tough-guy Taber and Danny DeVito as the disconnected Martini. Other great performances include Scatman Crothers as nurse's aide Turkle, Syndey Lassick as anxious Charlie Cheswick, William Redfield as the wise Mr. Harding, Will Sampson as Chief Bromden, and (introducing) Brad Dourif as Billy Bibbit. This film for the most part felt like a huge character study with all of these personalities poured into a huge melting pot for the audience to kind of take in and study. Learning how each character reacts is probably the best part of the film.

SCORE: The score was also professionally done by master composer, Jack Nitzsche. The main theme occurring at the beginning and the end of the film is probably one of the most, unique, fitting, and memorable pieces of composition ever made for film. It's truly a beautiful piece, as is the rest of the score by Nitzsche.

OTHER CONTENT: This film can definitely stand on its own without the novel, for the two sources almost feel like very different pieces of artwork when compared. So much is lost in the transition from page-to-film, such as the Chief's all-seeing narration, some of the novel's risky signals of theme, and ample explanation for certain key events in the plot. However, the film gains clarification for irony's role in the source and how each of these crazy characters function under the Nurse's rule. One can clearly see the transition within the patients and how the ones actually committed and not voluntary seem to be the most sane. Both the film and the novel are equally as powerful, but the novel just has so much to offer in substance. The film just makes up for it in form.

     One Flew Over the Cuckoo's Nest is as strong a film as it was a novel. Each has its own set of similarities and differences, but each works with what it sets up excellently. Through every character, word, and shot of this film, we are introduced to a story that means so much more than is revealed. In the transition, one could even say pertaining to both compositions, one flew east and one flew west. But indeed, one definitely flew over the cuckoo's nest.

Rabbit Hole (2010) review

(8/10)

     Rabbit Hole boasts an accurate portrayal of the harshness of reality and a talented set of performers able to get this point across. This film studying the aftermath of child loss is emotionally powerful yet a tad underdeveloped, lacking strong character development and a cogent beginning.

PLOT: Becca (Nicole Kidman) and Howie (Aaron Eckhart) lost their toddler-age son eight months ago in a car crash, and each is learning to cope with it and move on. Becca is fully committed to putting all of this behind her, but Howie is still holding on to the past more than he should. Though the couple goes to a community-led recovery group every week, neither of them seems to truly recover. To cope, Becca starts meeting and making amends with the teenage driver of the car, Jason (Miles Teller), and Howie starts to smoke pot with Gabby (Sandra Oh) from the recovery group in lieu of going to the actual recovery group. As their marriage and life fall apart, Becca and Howie must learn how to get past the sadness and move on. The plot isn't the most complicated but definitely not lacking excellence. The plot is executed in such a way that with every twist and turn, the audience can feel what the character feels. When one breaks down, we feel it too. When something embarrassing happens, we feel just as embarrassed as the characters in the audience. When things finally come back together, we feel just as relieved as Becca and Howie do. Director John Cameron Mitchell does an excellent job in crafting a film full of emotion.

ACTING: The performances in this film are very well done, with Nicole Kidman and Aaron Eckhart stealing the show. Kidman and Eckhart play off each other almost perfectly. Though not the most picturesque couple, the two truly make us believe they were married and in this situation. So much power is expressed through the many memorable scenes just the two of them share. Aside from the main two, Sandra Oh, Miles Teller, and also Dianne Wiest (Becca's mother) and Tammy Blanchard (Beccas sister, Izzy) also did excellent jobs with their parts. Wiest would definitely have to be the the next best after Kidman and Eckhart, putting almost as much emotion into her part as the two leads combined do.

SCORE: The score behind Rabbit Hole is very soft and beautiful. Composer Anton Sanko, who now composes score for modern horror movies (The Possession, Ouija), is presenting what may be his best work yet. Through a a soft-and-simple yet quirky tone, he fits the mood of the film just right.

OTHER CONTENT: Rabbit Hole is overall an intelligent piece of work that leaves a severe emotional impact, but it suffers from a sense of under-development. The film doesn't really have a clear beginning or rising action. In fact, the film feels more like a strict character study than a film at all in some ways. The audience is so focused in on the main characters that they don't notice the fact that the plot seems to drag on until the couple's first fight. It's almost as if the viewer's hit by surprise when the scene comes around. I also believe the film suffers from a lack of backstory; all the audience really knows prior to this situation is that the couple's son is dead. The audience isn't given any information prior to this event but a short home video. I also don't feel like the writer of the screenplay got across the connection between the film's plot and title very well. It's understandable, but the audience doesn't ever know for sure. Maybe the writer crafted all of these flaws within intentionally, but this does not come without a cost.

     Rabbit Hole is a very curious and confusing film. The film packs a punch of painful emotion that everyone is able to feel, but it still feels under-developed. It seems a bit more like an unfinished character study, and it almost works. The performances and direction is truly what leads this film out of the rabbit hole and into the light.

Forrest Gump (1994) review

(10/10)

     Forrest Gump falls nothing short of the classic it wants to be. With an iconic performance by Tom Hanks, a story full of history, and an inspiring message behind it all, this film lives on as one of the most popular of its time and well-deserving of its many Academy Awards.

PLOT: Forrest Gump (Tom Hanks) is a simple man from Alabama with a small IQ and a big heart. Since he was little, Forrest had always dealt with problems from bullies to his scoliosis. However, things start to change for Forrest when he meets a young girl named Jenny (Robin Wright) and becomes best friends with her. Their relationship grows strong throughout history and the many events Forrest attends, but both eventually go their own ways. Forrest joins the military where he meets shrimp-enthusiast Bubba (Mykelti Williamson) and harsh Lt. Dan (Gary Sinise), whereas Jenny joins the hippie movement and travels the country freely. Throughout their time apart, each starts to realize how much they care for each other. For the rest of the film, we're guided through Forrest's life and roles in history as he goes with his intuition and realizes he eventually has to stop running. The plot is very well written and executed. All of Forrest's roles in important historical events make this feel both like lesson and a treat for history enthusiasts. Seeing how everything is connected and tied back to the meaning is simply amazing to watch.

ACTING: All of the performances in this film are perfect. Every performer acts to fit his or her character in such an accurate way. I couldn't picture anyone else playing any other character in this film, especially with Tom Hanks in his iconic role of the titular character, Forrest Gump. Tom Hanks almost acts as if he had really been Forrest his whole life. No role could have said any of his iconic lines better. Robin Wright, Mykelti Williamson, and Gary Sinise all played their roles just as excellently. Every performer in this film is fully-deserving of respect after each's consecutive roles in this film.

SCORE: The score for Forrest Gump is just as inspirational and uplifting as the overall film is. Talented composer Alan Silvestri takes the reigns in writing the background score for the film and does so in a simplistically fitting way. The soundtrack is also one of the best soundtracks in film history, with each addition fitting the decade it arose from in the film. From classics like "Hound Dog" from Elvis and "Can't Help Myself" from The Four Tops to classic rock hits like "Fortunate Son" by Creedence Clearwater Revival and "For What It's Worth" by Buffalo Springfield, Forrest Gump's soundtrack feels much like radio station made only for the classic rock generation.

EFFECTS: There aren't many special effects to focus on in Forrest Gump aside from the Vietnam sequences. The explosions are very realistically done with an impressive "wow" factor upon first viewing. Everything done effect wise in the Vietnam sequence is amazing. They aren't the best, but they definitely succeed in the entertainment factor.

OTHER CONTENT: Forrest Gump is truly a film with both a brain and a heart behind it. Through the many inclusions of the simple-minded titular character in history, the film slyly teaches a lesson on how no matter how small someone thinks he or she is, he or she has probably made a huge impact on one's life. Prestigious director Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit?, Cast Away, Romancing the Stone) shows his skills in making the film with a clean, unique understanding of  the points he wants to get across. This is also evident from the symbolic focus on the feather, which stands for the ups and downs life can take a person through. Everything in this film, from the screenplay to the specific script is well-crafted and aimed for cogent perfection.

     Forrest Gump is an iconic, memorable film for obvious reasons. There isn't a question about why it became as popular and award-winning as it did. Perfect performances, solid direction, a great soundtrack, and a clear expression of meaning lead this film into a sort of safe zone. Almost everyone enjoys it and can relate to it, critics and the general public alike. I'm not saying people can't hate the film, but if one looks at the big picture, one can't help but to enjoy it. Forrest Gump itself is like a "box of chocolates"; when watching it, you never know what you can get out of it.

American Beauty (1999) review [Revisited]

(10/10)

     American Beauty still remains to be one of the most thoughtful, controversial, and brilliantly executed films of all film history. After multiple views, the inner meaning and surreal approach to conveying this meaning become more cogent and true to real life's dysfunctions. Through the expert performances, intelligent script-writing, and visionary direction by Sam Mendes, American Beauty becomes as overwhelmingly beautiful as it seeks to be.

PLOT: Middle-aged man, Lester Burnham (Kevin Spacey), is stuck in a rut in life. He's gotten in the same routine of fighting to keep the job he hates, being pushed around by his striving-for-success wife, Carolyn (Annette Bening), and being hated by his angst-y teenage daughter, Jane (Thora Birch). Things change when Lester attends a high school basketball game to see Jane cheer and falls for Jane's preppy best friend, Angela (Mena Suvari). Lester vicariously begins to recapture his youth by fantasizing about Angela before starting to physically and mentally change his life. He quits his job, starts smoking pot, starts to work out, and fights against his wife's bossy attitude. Meanwhile, Jane starts to unknowingly fall for the new neighbor, Ricky Fitts (Wes Bentley), who has an eye for the beauty in life and loves to film it. Ricky also starts selling pot to Lester against the wishes of Ricky's militaristic father, Colonel Fitts (Chris Cooper), who is led to believe his son performs homosexual acts for cash. Carolyn, during all of this as well, begins to have an affair with a past lover (Peter Gallagher) as to restore her lost backbone. The plot is very bizarre, intricate, and executed professionally. Every event in this film fits together like a piece of a very beautiful, complicated puzzle. Through this execution, it becomes evident how much intelligent development was put into the overall composition of the film. Just a in a well-crafted novel, everything is developed intentionally.

ACTING: The performances in this film are all done excellently and accurately, with the actors matching their roles perfectly. Both Kevin Spacey and Annette Bening deliver iconic and believable performances of a couple who's marriage is quickly falling apart. As both characters grow in the film,  the audience feels that the struggles are as real to the actors as they are in the film. Thora Birch and Wes Bentley also deliver a realistic performance as the angst-y teen and visionary outcast. The two bring a unique approach to the idea of a real teenage couple. All performances in this film are excellent; not one falls short of respect.

SCORE: The score is very unique and quirky by awesome score composer, Thomas Newman. The score only adds to the film's feeling of being surrealistically beautiful. The soundtrack is just as memorable and fitting as the score, adding classic rock poster songs like “The Seeker” and “American Woman” and interesting covers from Annie Lennox (“Don't Let It Bring You Down”) and Elliot Smith (“Because”).

OTHER CONTENT: Everything about this is film is intelligent and beautiful in its own imperfect way. Even with this being his first film, it's clear that director Sam Mendes knew what he was doing in making American Beauty. Through clean, expertly-filmed shots, his vision for this film is shown as well as the meaning. American Beauty serves its purpose as being what it's title declares, an American beauty. We are led through the story of the typical american attitudes in each character, conveyed by the presence of Lester's mid-life crisis and the lifestyles of the dysfunctional families (Burnham and Fitts). The beauty in the world is the imperfections we see, and that's what I perceive Mendes was trying to convey. As said in the script, just as intelligent as the film: ". . . it's hard to stay mad, when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much, my heart fills up like a balloon that's about to burst... And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I can't feel anything but gratitude for every single moment of my stupid little life."

     Sam Mendes' first work still feels like just as much a masterpiece as he intended to be when he made it in 1999. American Beauty conveys beautiful America just as real as it can be, with realistic  situations all connected as to prove this common point. Through expert performances, quirky score, intelligent scriptwriting, and visionary direction, this film remains true to at the very least one thing: its imperfect beauty.

The Haunting (1963) review

(8/10)

   Though greatly outdated and a tad uneven, The Haunting still remains one of the most prestigious horror films of its time with an excellent cast, expert camerawork, and a harrowing psychological question.

PLOT: The legend of Hill House has been passed down from generation to generation. The house is said to be extremely haunted by the ghosts of the past owners who died inside. One day, anthropologist Dr. Markway (Richard Johnson) invites the house's future heir, Luke Sanderson (Russ Tamblyn), uptight ESP expert, Theodora (Claire Bloom), and unstable friend, Eleanor Vance (Julie Harris) out to the house to spend a few nights and investigate the haunted legends of Hill House. Throughout their stay in the house, things start getting creepier and creepier, instilling a fear that the legends may be true, especially for poor Eleanor, who's either going insane or being taken over by the house. The plot is a very classic idea from a classic novel and is executed fairly well. We're injected with a ton of wavering suspense throughout the film as small scares arise every so often. Along with this aspect, a kind of dramatic story is established through the characters' conversations.

ACTING: The cast in this film did excellent jobs at their parts. One of my favorite parts of this film is probably the chemistry the cast establishes among each other. The best performances were probably from Russ Tamblyn as Luke Sanderson, Julie Harris as Eleanor Vance, and Richard Johnson as Dr. Markway. Tamblyn provided a subtle comedy relief from the spookiness of  the house, Harris convinced me of her characters questioning insanity, and Johnson just fit his part well. The cast did very excellent jobs at their parts.

SCORE: The score for this film was very nostalgic and well done. It set the spooky mood very well.

CAMERAWORK: The camerawork in this film was quite excellently done. At each scare and moment of tight suspense, the camera was perfectly suited to catch the creepiest yet clearest angle it could get. The film is shot brilliantly.

OTHER CONTENT: This film was a classic in its time, but compared to today's standards, it stands more as a paranormal suspense or psychological thriller than a horror. The times it felt most like a horror film was the telling of the family history near the beginning and within the scattered scares near the end. The film feels more like anticipation with no release. However, when a scare does pop up, the suspense succeeds in making it decently effective. I think, really, The Haunting works more as a psychological horror of a sort, because throughout the whole film, we're left questioning whether Eleanor is possessed by the house or driven mad by her own paranoid thoughts. This where the film succeeds most, next to the acting and cinematography. Watching her go insane as the house falls down around her is a quite harrowing sequence.

   The Haunting is a rather outdated and slow horror film, but it does succeed in promoting a stellar cast, expert cinematography, and the bare bones of a psychological horror. The suspense, though tedious at times, helps create effective jump scares. For its time, The Haunting was probably one of the few horror films containing cinematic style, and not just a cheap thrill.

Freaks (1932) review

(9/10)

   Combining the elements of pure horror and compelling drama, Freaks lives to be more than just your basic shocker. It lives to be as true a variety show as it portrays, but never falling short of a few chills.

PLOT: The story takes place in your average traveling circus with its own special set of sideshow freaks, including things from bearded ladies and sword swallowers to things as extreme as limbless, deformed, and Siamese twin humans. All of the entertainers are very close to each other except for a certain two people: Cleopatra, Queen of the Trapeze (Olga Baclanova) and Hercules (Henry Victor). These two are perfectly normal, beautiful, and talented people and separate themselves from the other acts. However, one of the acts, a dwarf named Hans (Harry Earles) falls in love with Cleopatra and plans to leave his prior engagement for her. Cleopatra at first uses Hans as a servant and an entertainer, but when she finds out he has a small fortune hidden away, Cleopatra decides to marry him. After the wedding and a good few drinks, Cleopatra and Hercules yell in disgust at the freaks when they try to accept them as one of their own, revealing their true colors. Afterwards, all of the freaks hate Cleo and Herc, including Hans, and plan on getting revenge, especially after finding out she might be poisoning Hans. The plot is very well developed and executed excellently, with every element standing out and finding its place, from shock and horror to comedy and tragedy. The story elements fall perfectly into place all the way up to the chilling ending.

ACTING: The performances in this film are excellent. Olga Baclanova and Henry Victor both are excellent as Cleopatra and Hercules, establishing definitive duo of villains. They stood out about as much as the actual sideshow acts. One of the best features of this film's cast is the idea the filmmakers had to use real circus freaks in the cast. Harry Earles is really a dwarf. Daisy and Violet Hilton are real Siamese twins. The living torsos and pinhead-like beings are real. This effect in the cast makes the film extremely authentic and that much more chilling. The cast is well picked and excellently talented, keeping the tension high all the way up to the outstanding ending.

SCORE: The score is very haunting and effective, instilling a nostalgic feeling of horror and despair for the film.

OTHER CONTENT: This film may have some truly terrifying moments,which are filmed excellently enough to create an ominous, suspenseful mood, but Freaks itself contains all the elements of the variety show within the film. This film has comedy, tragedy, terror, a compelling story, and is overall very much like the circus within the film. Though a little cheesier compared to today's standards, the film does very much remain a classic of its time.

   Freaks is very much a show; the comedy, tragedy, horror and story are all there. However, it's a show memorable through its haunting camerawork and ominous, suspenseful mood building up the the shocker ending. The film is a lot of fun, but also a lot of serious emotion, enhanced by the excellently-picked cast.

The Silence of the Lambs (1991) review

(9/10)

   One of the only horror classics to be up for an Oscar, this film shook the horror world. The memorable character of Hannibal Lecter was introduced to us for the first time through the visionary eyes of Jonathan Demme and the excellent acting skills of Anthony Hopkins. The film's excellent acting, grotesque images, and anxiety-inducing suspense all make this an excellent horror film and a great drama. However, not everyone can stomach this film as well as others.

PLOT: Clarice Starling (Jodie Foster) is training to be a member of the F.B.I. under the direction of Jack Crawford (Scott Glenn), an important trainer for the group. Meanwhile, a notorious killer named Buffalo Bill (Ted Levine) is making a name for himself, slaying woman after woman with all familiar calling cards. As an outside mission, Crawford sends Clarice to a mental institution to interview notorious serial killer, Hannibal Lecter (Anthony Hopkins) a.k.a. Hannibal the Cannibal. After a traumatic visit to the institution, Clarice starts to take the information given to her by Hannibal and finds out major things about the crimes of Buffalo Bill. After enough information is retrieved from the twisted, ex-psychologist, the true identity of Buffalo Bill, his location, and his motive start becoming clear. However, a race is on to catch the serial killer, for he has taken a U.S. senator's daughter for whatever he's wishing to do. The plot is brilliantly written and excellently executed, creating a unique idea and molding in characters and intense suspense that grabs you and keeps you entertained and guessing upon the mystery of the great crime.



ACTING: The performances in this film are very excellently done. The starts in this film are definitely Anthony Hopkins and Jodie Foster. Anthony Hopkins plays an amazing, memorable part as the twisted, cannibalistic psychopath, Hannibal Lecter, adding color and madness to the role. His performances is definitely one of the most memorable in horror film-making, sparking iconic quotes and visionary scenes of disturbing scares. Foster also creates a very real portrayal of the beginner-F.B.I. agent, Clarice Starling. From the accent all the way to the realistic actions of the character under pressure, Foster definitely reigns persistent as a heroine of horror/drama film. Ted Levine also played a very realistic and disturbing part as confused serial killer, Buffalo Bill. The way Levine played the part just enhanced the twisted mood created here. All performances were very well done, from the major characters to the minor characters, for example, Stuart Rudin as Miggs and Brooke Smith as Catherine Martin, the senator's daughter.

SCORE: The score in this film is very well done, but nothing truly memorable. The score fit the moods well but didn't create any memorable themes. However, the use of the song "Goodbye Horses" for Buffalo Bill has grown memorable and quite scary to today's standards.

EFFECTS: The effects in this horror were very well done. They weren't the best I've ever seen, but they were definitely worth mentioning. From chewed-up body parts to corpses murdered gruesomely, the effects were very well done and realistic, giving the audience the feeling that there really is a dead body on set or that something really bad did actually happen in life.



MISC. THOUGHTS: This film is definitely a memorable classic for the horror genre, creating a twisted persona of two different serial killers, Hannibal Lecter and Buffalo Bill, with the earlier being more memorable in the end. Jonathan Demme creates, in this film, a twisted, demented, and actually scary portrayal of a crime mystery and serial killer story. He also creates a great amount of suspense, making the audience feel the tension in the film up to the very end. However, this film may be a little too twisted for some people's tastes. The only reason this film isn't widely accepted as perfect film-making across the cinematic nation is because some people can't even stomach the film's entirety. The film is very twisted, unsettling, disturbing, and sadistic at parts and can be actually scary, which is a good plus for horror fans but not for lovers of all drama film. The film is a cinematic masterpiece, but only to those who choose to accept it.

   Putting into motion another memorable horror face, this horror/drama film grabs the audience and keeps them where they need to be: glued to the screen. The performances are excellent, especially by the great Anthony Hopkins, the plot is unique and brilliantly worked with, the effects were gruesome, the suspense is dense and tense, and the film is actually a good, twisted scare for horror fans. However, some people can't seem to take the realism of it all as well as others.

A Streetcar Named Desire (1951) review

(9/10)

   This iconic masterpiece of the stage and the screen not only puts Marlon Brando on the celebrity map, but also personifies the many themes of the taboo mind of the late-great Tennessee Williams. Excellent performances, filmmaking, and script authenticity make the film an enjoyable subject to watch. However, the changed ending really seemed to bother me compared to the play.

PLOT: Stanley Kowalski (Marlon Brando) and his pregnent wife, Stella (Kim Hunter), live in a small, shabby apartment in New Orleans just getting by on life as it comes. Things are normal until Stella's neurotic sister, Blanche (Vivien Leigh), comes to visit and stay for a while. From here, life in the household only goes downhill as we're informed of the loss of the old plantation house and the dark past Blanche is trying to hide, all while we witness Stanley's mistreatment of the household and Blanche's attempt at love with Stanley's friend, Mitch (Karl Malden). The plot isn't real thick in basic elements, but golden in substance. The execution of the plot is excellent up until the end scene. The events in the film line up almost exactly with the events in the play and how they're carried on. I appreciated how the censors didn't completely butcher the themes of the play at the time and how Williams carried on filming his work.



ACTING: The performances in this film are excellent. The best performance had to be from Marlon Brando as the roughneck Stanley Kowalski. Brando, in his first film, played the memorable character with great style and emphasis, putting more personality into the character than seen before. Vivien Leigh played an excellent part also as Blanche DuBois, the neurotic heartbreak. I don't think the role could have been personified as well by any other actress than Mrs. Gone-With-the-Wind herself. From her perception of reality to the scary fantasy she lives in her head, Blanche is played excellently by Leigh. The other performances were very well done as well, specifically Kim Hunter as Stella and Karl Malden as Mitch.

SCORE: The score was fairly well done for the time with a jazzy overtone and heavy dramatic themes implied, sometimes overly done. The intense, jazzy themes added a tone to the film, but the overdone dramatic score just seemed to bring it down a fair amount.



MISC. THOUGHTS: This iconic film adaptation of the famous, critically-acclaimed play by Tennessee Williams sets the tone for films of its kind in the future, studying the more taboo aspects of people and society through intense character studies, as seen also in Lolita and Repulsion in future years. The fact that the film was made almost in line with the original play is excellent. However, the end of the film is changed for the screen in such a way that it feels rushed and cheesily done. The film would've been darker and more accurate had Stella came back and embraced Stanley, but she left again as if in limbo to earlier scenes in the film. Aside from this fatal flaw in accuracy, the film is greatly iconic with dialogue and scenes executed in great style.

   The play deserved a film adaptation to shake its time, and it got one. The excellent cast, stylish execution, and hard-hitting accuracy of most of the film makes this work a masterpiece of classic filmmaking. However, the abrupt change of the ending to suit the screen gave way for a big mistake of ruining the true mood and tone for the film, fatally but also just barely.

The Great Gatsby (2013) review

(8/10)

   Compared to the attempts made in the past to personify the brilliant novel, this adaptation shows the source material at least a bit more respect. In fact, the whole way this film is made seems to celebrate and glorify the book in its near entirety. The performances are excellent and the vibrant, musical moods are jumping. However, the film doesn't match the time period as well as some would expect, and some important scenes are greatly left behind.

PLOT: Nick Carroway (Tobey Maguire), now in a mental institution, is told to write about his experiences with Gatsby to express all of his thoughts and emotions. Nick tells the story of how he moved to New York in the portion of West Egg, near his cousin on East Egg, Daisy (Carey Mulligan) and her husband, Tom Buchanan (Joel Edgerton). Nick reveals later on that he lives next to Jay Gatsby (Leonardo DiCaprio), the millionaire who he sees as a mystery at first until one day when he gets invited to one of Gatsby's wild parties. Nick eventually finds out that Gatsby and Daisy used to be lovers before the war. At Gatsby's request, Nick invites Daisy over and they meet up again, falling in love again almost instantly. However, their love won't be long-lived, for Tom, who is also cheating, gets suspicious of Daisy and her doings. The excellent plot of the novel is brought to a new life in this adaptation. The execution is very good, adding dramatic emotion and personality in each scene, as to catch the true meaning and impact it means to bring on. The stylized, fast-paced mood of Baz Luhrman's direction may change a few details, but it definitely brings a new sense of life into the classic source material.



ACTING: The performances in this film are excellent. Tobey Maguire plays very good part of Nick Carroway, adding a hint of lost time to the story's narrative view. Carey Mulligan also played her part as Daisy about as well as Maguire did for Nick. The two shining performances of the show would definitely be Leonardo DiCaprio as Jay Gatsby and Joel Edgerton as Tom Buchanan. The two not only breathed vivid life into the characters the novel fans have grown to know, but they also played off each other excellently, bringing both fantastic realism and emotional drama to the table. I had to say that I was most entertained and kept tense by DiCaprio and Edgerton's performances. No performance was truly bad in the film, and a lot of the cast along with these few are is all-star, including Isla Fisher as Myrtle, and Elizabeth Debicki as Jordan Baker.

SCORE/SOUNDTRACK: The soundtrack in this film is lively and jumping, with artists such as Jay-Z, Kanye West, Florence + the Machine, Lana Del Ray, Jack White, Gotye, and many others. The songs are all nice and fit the mood well, but not the time, however. The score itself was very excellently done, with emotional, dramatic, and intense themes to glorify the mood of the moment. Luhrman's style of coordinating modern with classic in music was not fully effective here, however, as it has been done in his past works.



OTHER CONTENT: This adaptation of the film isn't as blasphemous as some critics see it to be. The style of the film may be suited a bit more for modern times, but that doesn't always ruin the emotional impact the source material has. This is more of a celebration of Gatsby. The most memorable lines are kept memorable within a bout of stylized film-making and inserted into the modern background as a symbolism of the novel's living meaning today. However, this isn't the perfect version of the novel most have been looking for. The flaws aren't many, but they are major. The music and choreography of the film didn't match the time that the film took place in at all. The utilization of hip-hop music and dance moves to style the source material to modern times, as Luhrman often tries to do, doesn't succeed in this film. The overall feeling just comes off as more distasteful than anything else. Also and like the version from 1974, some important details were left out in the conversion from literature to cinema. Likes of Myrtle's speech about when she first met Tom to the moment we meet Gatsby's father at the end are just lost and forgotten in the wild hustle and bustle of the film. These two flaws set the film back and definitely didn't show it the honor it deserves, but this film is the best we have so far for film adaptations of the Fitzgerald classic.

   This adaptation isn't as blasphemous as it's believed to be. In fact, it's a sort of celebration for the mass readers. The performances are excellent, the music is lively, and the execution is marvelously emotional, breathing life we have not yet seen into the beloved classic. However, matching up the times and including all of the important scenes from the source are major factors that fail.

The Great Gatsby (1974) review

(5/10)

   The classic novel has never seemed quite as shamed as I've seen it become in this sad attempt at a recreation. Even with the Luhrman version in mind, I have to say this failed to capture the magic the book gave and refuses to even acknowledge its presence. There were a few decently good scenes and performances in this movie, but they all fall like dominoes in succession with the rest of the movie's mediocrity, which tries so hard to succeed.

PLOT: Nick Carraway (Sam Waterston) lives in the western area of Long Island, referred to as West Egg due to the shape. Nick has a rich cousin on the eastern side of Long Island, referred to as East Egg, named Daisy (Mia Farrow), who's married to orderly man, Tom Buchanan (Bruce Dern). Nick also lives next door to one of the wealthiest gentleman on West Egg, Jay Gatsby (Robert Redford), whom Nick has never seen before. One day, Nick gets invited to one of Gatsby's wild parties where they finally meet. Through an anxious chain of events, Nick learns that Gatsby has had a crush on his cousin, Daisy, for years and wants to use Nick to meet her, having her cheat on Tom like Tom's cheating on her. Gatsby and Daisy hit it off eventually after they meet again, but good things never last, for a disturbing chain of events occurs in the end. The plot is excellent, as it is in the novel, but the execution is more than just sloppy. It's purely terrible. Not only does the director add scenes and remove important details from the source material, but he also tries to pass off the mistakes he adds as Fitzgerald's true writing. He smears blasphemy in the name of this great author.



ACTING: The performances in this movie are nearly hit-and-miss. There are a few really decent roles, but the majority of the performances in here were greatly miscast. Robert Redford was far from the right choice for Jay Gatsby. He performed the role with little to no emotion or interest added to it, as compared to his work in that of Jeremiah Johnson; Bruce Dern had this same problem as Tom Buchanan. Mia Farrow I also didn't think play the part of Daisy Buchanan very well. She played the part as a southern belle pretty well, but she overacted her role in general. The same was true of Karen Black who played as Myrtle, Tom's love interest. Sam Waterston actually did a decent job as Nick, but I don't find it as anything too memorable. The performances in here I seemed to enjoy most would be Lois Chiles as Jordan Baker and Roberts Blossom as Mr. Gatz, These two showed a fair amount of emotion and suitability for their parts. I actually wished Blossom would've had a bigger part in the movie, for he gave an effective performance.

SCORE: The score in here, aside from the show music used in the parties to show the era of time, was purely cheesy. The conductor of the score seemed to try so hard to make the themes sound nice and memorable and intense, but they didn't even enhance the scene. If anything, they made the movie seem very cheesy and of cheaper taste. I couldn't stand the score.

EDITING/CAMERA: The editing in this movie feels so much cheaper than it intends to be. The fades from scene to scene at times are greatly delayed and sloppy, but seemed as if they were trying to reveal some kind of inner meaning. The camerwork itself is greatly overdone and shaky. The close-ups are too close and the positions are too far off.



MISC. THOUGHTS: This movie adaptation of the famed novel by Fitzgerald falls flat on its face. It attempts to be a great film adaption of the book, but doesn't pull of the right moves to make it there. Leaving out so many important details and changing them to suit the director's wishes just shows lazy film-making, unless you attempt to do what Kubrick did with The Shining in transforming the movie into something way more than it was intended to be. However, there were some scenes in the movie that I even have to admit were done excellently, such as that of Gatsby's death scene at the pool. Everything in that scene was shot just ominously right that it actually started to come off as a great cinema moment. The flaws this movie has also almost make it the one thing Gatsby doesn't need to be: bland. Aside from the extreme flaws, this movie just succumbs into being a bland attempt at overall film-making.

   This Gatsby is not so great. This is by far not the film version the novel deserves. The execution is all messed up due to subtraction and addition of details, the performances are all miscast or overdone, the score is cheesy, the editing is terrible, and the whole thing just seems badly bland. However, there were a few shining stars and a few excellently done scenes that show the director had at least some kind of comprehension of what he was talking about.

Jersey Boys (2014) review

(8/10)

Eastwood's take on the famed musical breathes new life into The Four Seasons history, but it seems like the film doesn't know what it truly wants to be, as well as proposing a failed narrative style.

PLOT:Frankie Castelluccio (John Lloyd Young) is a training hairdresser in the streets of New Jersey. Everyone claims his voice is a God-given gift, including his best friend and bad influence, Tommy DeVito (Vincent Piazza), and his protective mob boss, Gyp DeCarlo (Christopher Walken). One day, after days of jail time for many of his associates, Tommy decides to start a group with Frankie and try to get famous, hiring Bob Gaudio as the songwriter (Erich Bergen) and collaborating with Bob Crewe (Mike Doyle) as the recording agent. After recording "Sherry", "Big Girls Don't Cry", and "Walk Like a Man", the fame of The Four Seasons shoots to the top. However, many obstacles still stand in the group's way for true fame, such as large, unpaid debts, family conflicts, and personality conflicts between the members of the group. It's a great plot idea executed decently well. Some things could have been better.



ACTING:The performances in this film were very well done. John Lloyd Young, Vincent Piazza, and Michael Lomenda as Frankie, Tommy, and Nick were the top performances of the film. The emotion and chemistry between the characters in the film caught and held your attention to the fullest extent. Every dramatic scene is pulled together in the fullest extent by these three performances, as well as Erich Bergen and Mike Doyle as Gaudio and Crewe. Veteran actor, Christopher Walken, also played an excellent part as mob boss Gyp DeCarlo, adding a complex yet gentle stoicism to the character's outlook. Almost every performance in the film is nicely done, with extra regards to Frey Tingley as Francine Valli, Barry Livingston as the accountant, and Katherine Narducci as Mary Rinaldi. These performances weren't the best I've ever seen, but they definitely did their jobs with pride.

SCORE:The score and soundtrack to this film is excellently done. John Lloyd Young and the rest of the crew did a brilliant job of covering the hits of The Four Seasons, with a sound almost just like the unique sound of classic Valli and his Four Seasons. All of the major hits are included in here, from the three mentioned earlier to "Can't Take My Eyes Off of You", "My Eyes Adored You", "December, 1963 (Oh, What a Night)", and many others. The covers sound almost as good as the official tracks.



OTHER CONTENT:This film was a very great portrayal of the life and times of Frankie Valli and the Four Seasons, but the execution had a few minor problems that kept the film from being a true gem. The film tries to please as many audiences as it can with sensational musical numbers, mature drama, and a light-hearted style of narrative. Not only does the narrative style fail and come off as unnecessary and cheesy, but the constantly-switching tones of the film deter it from being what it was truly meant to be, which was either a light-hearted play or a serious docudrama. The film had its high points, which were greatly high in regards to the professional direction of Clint Eastwood, but it won't go down in history as a masterpiece of a film, as a great handful of Eastwood's works have in the past.

OVERALL,a great docudrama with a great plot idea, captivating performances, excellent soundtrack breathing new life into Valli's music, and some great high points. However, the narrative style fails to flow along with the film itself, also adding to the problem that it's inconsistent with what type of film it truly wants to be.

We Need to Talk About Kevin (2011) review

(8/10)

This intense drama keeps you on the edge of your seat with compelling performances from the lead actors and a contagious story.

PLOT:Eva (Tilda Swinton) has been a troubled soul since her son, Kevin (Ezra Miller) was born. Kevin has never liked her and has always tried to defy her from toddler years to teen years, running to his dad, Franklin (John C. Reilly). However, things start to change when Kevin grows even more violent and his baby sister is born. Kevin's rebellion and resistance may end up leading the family into the ground. It's a great plot executed brilliantly.



ACTING:The performances in this film are excellent. Tilda Swinton and Ezra Miller both played excellent roles as Eva and Kevin. I really saw a characterized personality in each of their performances and actions. John C. Reilly also played a great part as loving father Franklin. All performances were good and fitting. Even the child actors such as Jasper Newell and Rocky Duer as young Kevin did a great job.

SCORE:The score in this film is pretty cool. It fit the mood very well. It wasn't anything too special though.



OTHER CONTENT:This film is very intense in every sense of the word. As Kevin gets more and more violent and defiant, we get more and more involved in the story until the climactic ending with a single line that expresses so much muddled emotion. However, with all of the vague muddle of the reasoning, we never really find out why Kevin was so mean all of these years. It seems to leave an open hole of opinion to the reason of why Kevin was the way he was. Also, this film could come off as confusing to those who don't understand its form, making it not as widely accepted by everyone. However, this is still a brilliantly done film by director Lynne Ramsay.

OVERALL,a great film with a great plot, excellent performances, cool score, intense twists, and a bunch of emotion hidden, but the reasoning can seem lost and the format of direction could confuse some people.

Lemony Snicket's A Series of Unfortunate Events (2004) review

(7/10)

This entertaining movie remains fairly accurate to the books with great direction and a stellar performance by veteran comedy actor Jim Carrey.

PLOT:After their mansion mysteriously burns down and kills their parents, inventor Violet (Emily Browning), bookworm Klaus (Liam Aiken), and sharp-toothed Sunny Baudelaire are sent to live with their strange "relative", Count Olaf (Jim Carrey), an actor in self-written plays. Olaf is a mean-spirited, greedy person with an eye on the enormous fortune willed to the kids by their parents, and he's willing to do anything to get to it, including killing the kids. The Baudelaire orphans must run from Olaf, whether it involves strange inventions or jumping from distant guardian to distant guardian. It's a great plot executed very well.



ACTING:The performances in this movie are alright. Jim Carrey definitely stole the show as the strange and greedy Count Olaf. Carrey has always been a favorite actor of mine, and this performance is just as comedic, entertaining, and overdone as most of his are usually. I really enjoyed him in here. The orphans were okay. There really wasn't anything special about their acting, as they were still child actors. Liam Aiken wasn't bad as Klaus, and I suppose Emily Browning was okay. The more mature extra performances, such as Meryl Streep as Aunt Josephine and Billy Connolly as Uncle Monty. I really liked the way they played their roles as the paranoid grammar freak and the open-minded snake professor. Jude Law's narration as Lemony Snicket was also very nice as well. The other performances worth mentioning would be Cedric the Entertainer as the Constable and Catherine O'Hara as Justice Strauss. I didn't care too much for Timothy Spall as Mr. Poe.

SCORE:The score in here is very cool and detailed by the great Thomas Newman. Some themes are lighter pieces while others are dark and intense, with a very modern-sounding piece for the end credits.

EFFECTS:The effects in this movie weren't expertly done, but they did what they were supposed to do. I enjoyed the Lachrymose leeches and the destruction of Aunt Josephine's house best. The rest seemed a bit lazily done and almost too fake in appearance.



OTHER CONTENT:This movie is a fun watch. The movie almost stays true to its source material and is directed very nicely by Brad Silberling. The movie strays a good bit from the books by a few plot twists, but its pretty well adapted for the most part. Aside from the few inaccuracies and a couple bland performances, I also found myself upset that they didn't continue the story or explain the backstories of the family and villains clear enough. I was still left asking far too many questions. Its a fun movie, but I believe there could have been more made, or there could have been more information added.

OVERALL,a good movie with a great plot, decent acting aside from Carrey's comedic performance, cool score, lazily done effects, very nice direction, and fair accuracy to its source material, but some important twists are left out, including the backstories of the secret groups.