Nothing else to say
You know how you can sometimes be oblivious to any form of accent you have when speaking?
As someone who has grown up in the midwest his whole life, I definitely never picked up on having an accent of any kind. Even so, it was impossible for me to not notice the accent work of Jodie Comer is using in The Bikeriders.
In the week or so I spent catching up and rewatching the previous Mad Max films, a rather unrelated film scene popped into my head.
In 1941, there was a film released called Hellzapoppin’. While I have not seen the film, I have seen what is arguably the film’s most popular scene when the characters do a dance called “The Lindy Hop”. When you watch it on YouTube, you will most likely have trouble concluding that these talented people are not being sped up on film: they are just that bleepin’ fast.
Over the last month or so, I found myself watching three films from the 1950s that were definite products of their time (which is not to say they were bad).
The three films (The Incredible Shrinking Man, Them!, and Invasion of the Body Snatchers) most assuredly dealt with fears of the times: radiation, political invasion, and nuclear war. Thankfully, none of that has happened since then (well, maybe the invasion part, but that is not something I want to dive into), but they surely seemed like possible outcomes.
Going as far back as Kurosawa’s 1961 classic Yojimbo (and probably even before that), the revenge flick always has a unique place in the heart of the audience.
Whether it be a samurai, a war vet (ala Rambo), a 21st century Liam Neeson role, or (most recently) the John Wick films, we all have that inner being that wants to exact revenge. Whether it be a bully, a boss/co-worker, or someone who cut you off in traffic, our (much safer) alternative to vengeance is watching it dished out on screen.
I was a Junior in High School when the Terri Schiavo case made headlines.
From what I remember, it was brought up in at least one of my classes as a potential debate topic, and it also was something I thought could hurt the film Million Dollar Baby at that year’s Oscars (it didn’t). Being what introduced the world (or at least me) to the term “euthanasia”, the whole impact of the ordeal seems to have been lost to time.
Try as I might, my prior knowledge of Napoleon Bonaparte heading into the latest movie based on him is considerably less than normal (I was going to make a height joke here, but couldn’t think of one).
Aside from knowing him as one of the greatest generals in history, being considered short, and having a complex named after him, I knew nothing more (unless you count him being a fan of water slides thanks to Bill & Ted’s Excellent Adventure). Even still, it seems to make sense that director Ridley Scott, equally as fearless as Bonaparte (and in his mid 80s, no less) would make a film about the historical figure, which results in the film Napoleon.
There is a strong argument that can be made that we have been undervaluing Paul Giamatti.
My earliest recollection of him must have been his small parts in 1998’s Dr. Dolittle with Eddie Murphy and the war classic Saving Private Ryan (the same year). It was then in 2003 he got deserved claim in American Splendor and then his big break a year later in Sideways (two movies I have needed to revisit for some time now).
For some baffling reason, the only Oscar nomination of his career came in 2005 with Cinderella Man. Of course, he has been in his bad share of movies, but (at least from the ones I have seen) has yet to give a bad performance.
It should be obvious, but it is nigh impossible to call oneself a cinephile and dislike the films of Martin Scorsese (or at least not appreciate them).
His name is on par with directing giants of the past: Hitchcock, Ford, Ozu, Welles, Kurosawa, Kubrick, Fellini. He has been in the twilight of his career for a little over a decade now, but has never lost his unique cinematic eye. For those like him working into his 80s (it should be noted before this film, I saw two trailers for up coming films from two octogenarian filmmakers: Michael Mann and Ridley Scott), it is not easy to bring about something fresh as well as ones old tricks.
I was allowed to see most R rated movies growing up in my pre-teen/teen years, with the sole exception of 1973’s The Exorcist. My mom was so convinced she could be possessed that she was against me seeing it until she would be able to watch it with me, and pause before every scary part.
Even after a half century of sequels and (truly) countless rip offs, The Exorcist has still retained it’s immortality on the Mt. Rushmore of horror films. It is hard to argue its impact. From that view point, it is easy to see why director David Gordon Green, who just finished a trilogy of Halloween sequels (which I have yet to see), would want to use the same approach and make a direct sequel to the late great William Friedkin directed masterpiece. The result, The Exorcist: Believer, is a true let down.
With the possible exception of Tom Cruise, no entity in Hollywood today cares more about the theatrical experience more than Christopher Nolan.
His name is the first to come to mind when thinking of directors of his generation, and few have been as successful. His is one of the very few names in Hollywood that can draw an audience just by his name alone. He is one who goes big with every ingredient that makes a movie, letting everyone from the actors to the replacement sound guy to shine. In Oppenheimer, he has gotten the closest he has gotten to outdoing himself in some time, as it is easily the best he has done in years.
Nothing else to say