Review: Taxi Driver (1976)

Posted on December 17, 2015 by 4 Star Films

Well. Whatever it is, you should clean up this city here, because this city here is like an open sewer you know. It’s full of filth and scum. And sometimes I can hardly take it. ~ Robert De Niro as Travis Bickle

Taxi Driver‘s Travis Bickle is an American icon representing anyone and everyone who has ever felt like an outcast, outsider, or misfit. He’s the perfect embodiment of any of the angst or disgust that might surge through our veins at any given time. Except before I ever saw Martin Scorsese’s film, I always assumed him to be a thuggish villain. But his character is more complex than that. He’s far more relatable than I would have initially given him credit for.

The film actually opens feeling like the pilot of the Sitcom Taxi or something. There’s Bernard Hermann’s beautifully cool jazz-infused score and then the illuminating lights of an average New York evening. It feels strangely peaceful in spite of all that is going to go down.

Travis is an ex-Vietnam vet who takes a taxi driving job for the strangest of reasons. He just wants something that will have him working long hours and he isn’t too particular about what part of town he ends up in. From the get-go, he strikes the audience as a quiet almost silent observer of all that takes place around him on the streets every night. He’ll sit around with a couple cabbies as they chew the fat, but he’s essentially isolated — a repressed young man who doesn’t really express himself. His existence feels tragic and lonely, certainly not deadly.

There is a small beacon of hope when a pretty campaign volunteer named Betsy (Cybil Sheppard) catches his eye, and he has an extremely awkward interaction with her but it lands him a date. But Travis just doesn’t quite know how to act, he hasn’t learned what it means to be in a relationship and he has an error in judgment while they are out. However, he doesn’t see it that way. He feels his attempts at kindness were completely rejected.

Then, he also begins to notice a young hooker out on the streets and his next mission is to get her away from there back home. He thinks it’s the right thing to do and he means well but young streetwise Iris (Jodie Foster) doesn’t seem to want his charity. So once again Travis seems unwanted and not needed when he is trying to do something nice.

Travis even acknowledges to his colleague Wizard that he’s getting all twisted up inside and confused. He’s distraught and he has no way to deal with it so his outlet includes a heavy strength regimen and loading up on a ton of guns. Never a good sign, but it his mind’s eye it’s all to clean up the streets of the scum of the earth.

However, first he attends a rally for a presidential candidate that Betsy will be at and he has intent to cause harm, but he backs out at the last minute and goes to Plan B confronting Iris’s pimp Sport (Harvey Keitel) and shooting him. The inner demons of Travis are unleashed as he goes off, but his delusions of grandeur reassure him that this is all for Iris. This is for her good. All this bloodshed.

The final moments after his rampage have Travis receiving a letter from Irises parents who are grateful for his actions to save their daughter from corruption. Then, a fully recuperated Travis finds Cybil sitting in the back seat of his taxi cab in all her glory. It’s beyond his wildest dreams, which begs the question is this reality, or is this just a clever construction of his own brain? Another delusion of grandeur. It’s a wonderful open-ended finale.

Paul Schrader’s script is a wonderful character study giving introspection into one troubled man’s psyche. However, there is controversy on two fronts. It’s rumored that John Hinckley Jr. who tried to assassinate Ronald Reagan was influenced by this film and also the finale seems to reflect many people who commit mass shootings. Oftentimes they are people who are deeply troubled and are looking for some type of attention. But with that desire comes often deadly consequences.

taxidriver3 Martin Scorsese’s film has also received pointed criticism for its violence which is hard to downplay. However, Taxi Driver remains interesting because it is not bloated with killing (in fact only one scene is actually bloody). Most of the film has to do with relationships or lack thereof because a lot of what Travis does is watch and listen. It might be Martin Scorsese in a cameo as a jealous husband or a presidential candidate asking Bickle’s opinion from the back seat. Furthermore, like any warm-blooded boy, he knows that Cybil Sheppard is a dream girl. And he has enough compassion to want Iris to have a normal childhood. It’s just that his conscientiousness is misdirected and subverted.

The film resigns itself to following this one man in the wasteland that is New York. It’s starkly beautiful and thought-provoking placing a troubled anti-hero in front a canvas of urban realism. I could never condone his behavior, but then again I could never be completely against him either.

4.5/5 Stars

The Empire Strikes Back (1980)

Posted on November 7, 2015 by 4 Star Films

Growing up, Star Wars was my life. I lived, ate, slept, and dreamt Star Wars. But notably, Empire Strikes Back was always my least favorite film in the original trilogy. In truth, it scared me because it showed a different side to this galaxy. It seemed to be ignoring the unwritten rule that good should and will always prevail over evil.

Now I know better than that. Every great film trilogy needs that moment where it delves into the darkness and scours the depths of despair. it’s in these moments that characters become solidified, pun intended, and we truly begin to care for them on a deeper level.

Because Empire Strikes Back is certainly a film about darkness; that’s part of the reason why I shied away from it growing up. But such evil always seems to reveal the polarities of nature. To balance out the dark side there must be light. Heroics, sacrifice, and friendship come to the forefront because baseness calls for such a response from our protagonists.

Another reason I was not always a fan of Episode IV was rather shallow, I admit. Planets like Hoth, Dagobah, and even Bespin were just not as thrilling as Tatooine and Endor for some reason. That still holds true to some extent, but now the first issue I touched on takes greater precedent.

It’s in this story where the Rebels are struggling to survive, fleeing Hoth desperately from an Imperial garrison that seems largely regrouped and unfettered by the destruction of the Death Star. All seems bleak and hopeless once more. Things begin with Luke being kidnapped and dragged off to a Wampa lair. He almost gets crushed by an incoming AT-AT as his buddies get fried, and finally, he crashes his X-Wing into a swamp searching for a Jedi Master who is little more than a green muppet. It’s not much of a hero’s journey, or more precisely it’s a journey full of pitfalls and failures.

Meanwhile, sparks are flying between Han and Leia, not because of their chemistry, but their complete lack of any chemistry. He’s a scoundrel and she’s an aloof princess hardly enamored with his show of bravado. After all, he pilots a heap of junk and walks around with a furry walking carpet prone to fits of rage. C3P0 is at best comical every now and again when he’s not overly annoying. R2D2 is a spunky dynamo like always. These hardly seem like complimentary words, and it’s hardly thoughtful commentary, but it sets the stage for brilliance.

The plot is contrived just as Vader contrives to lead Luke right into his trap. On both accounts, it works to perfection. Bespin becomes the perfect place for some major truth-bombs. The most obvious one pertaining to a certain person’s father. But we also see the evolution of Han and Leia’s relationship. We see the true camaraderie between Han and Chewie, and the real nature of Lando, another scoundrel with a heart of gold, much like his buddy Han. Finally, we find out that Leia has extraordinary powers of her own.

On a purely cinematic level, The Empire Strikes Back introduces us to our first real lightsaber battle we ever got and it never disappoints. True, Vader and Obi-Wan faced off, but that was more symbolic in nature. The bout between Luke and Vader was the next step, necessary for this story to progress. Luke has fallen and failed this time as the power of the dark side is too strong for him, but this is only the beginning. Any great trilogy must enter into the darkness certainly, but there’s also an ending to the story. Completely different than what came before. In this case, the Jedi will return prepared to bring order to the galaxy as it is meant to be.

Thus, I wasn’t completely against The Empire Strikes Back as a kid, because I knew it wasn’t the end of the story. We leave our characters on a hopeful note as they survey the vast galaxy in front of them. It’s far from being redeemed, but it’s also not too far gone. This is a space western for the ages with dramatic storytelling, twists, and turns worthy of one of the great series of our generation. Let’s just take another moment to salute John Williams too. Without him, Star Wars is far less. He makes this world of George Lucas come alive.

5/5 Stars

The Professionals (1966)

Posted on October 21, 2015 by 4 Star Films

Who wouldn’t be enticed by a film entitled The Professionals? It feels a little like an amalgamation of The Magnificent Seven, The Dirty Dozen, with a little sprinkling of Mission Impossible, and dare I say The Wild Bunch? We have a band of four big-time pros who are brought together to rescue the wife of a man named Grant (Ralph Bellamy). She is being held at ransom in the heart of Mexico. That’s no small task in the wake of Pancho Villa and the Mexican-American conflict, but these men are the best of the best.

The leader is none other than Lee Marvin (of The Dirty Dozen) with his prematurely white hair, leading the band as Rico Fardan, a skilled tactician, and former U.S. Army Officer. He is joined by Jake Sharp (Woody Strode), who is the best tracker around and also a crack shot with a bow and arrow. Next, comes skilled horseman and pack master Hans Ehrengard (Robert Ryan), who keeps mainly to himself. The most dynamic part is that of Bill Dolworth (Burt Lancaster), an unscrupulous scrounger who nevertheless is a good shot and an artist when it comes to using explosives. He’s not what you call a trustworthy type, but Rico would trust this man with his life and that says a lot.

Richard Brooks story is straightforward enough. This dream team goes in with their mission clear: The man who stands in there way is revolutionary turned outlaw Jesus Raza (Jack Palance), who is the one keeping Maria (Claudia Cardinale) captive.

As they push forward, they witness the brutality of Raza and his men as they raid a passing train and execute many of the occupants. Soon Fardan and his crew move in on Raza’s compound and wreak havoc one night so they can pull Maria out and take her to safety. But she seems like a very reluctant damsel in distress. She also seems very intimate with Raza. That’s the first sign that something’s up, but still, they follow the parameters of the assignment and pull her out.

Retribution follows and after a gunfight The Professionals flee through the mountains with Raza in hot pursuit. They use explosives to try and impede the progress of the rebels, and then Dolworth resolves to stay back to bide his partners time so they can get across the border. It’s at this point that he fights like one of the magnificent seven, in an impressive rearguard action that has his foes befuddled.

It’s when he actually comes face to face with his enemy that things become interesting. They know him and he knows them. Once upon a time, he fought with Raza and he was also acquainted with the lively female marksman Chiquita. When they finally get back to good ol’ Mr. Grant they find he’s not as straight-laced as they once thought, so they make a costly decision. They lose out on their big payoff but do the honorable thing by setting Maria free.

The Professionals gives us want we want. Honestly, we want cool characters and fun action sequences and that’s essentially what we get. There’s quite a bit of fairly graphic violence too for a ’60s western signaling a slow change in the genre. Lee Marvin is impeccable as the self-assured, tough as nails commanding type. Lancaster is, of course, the most interesting, and I can only imagine he had the most fun because playing a scoundrel would undoubtedly be a treat. Strode, Palance, and Cardinale were enjoyable to watch in their own rights as well since we did not necessarily need a whole lot of depth from them. It was only Robert Ryan’s role that felt rather like a throwaway part that did not have much to it. No matter, the Professionals was still an enjoyable all-star western.

J.W. Grant: You bastard.

Rico: Yes, sir. In my case an accident of birth. But you, sir, you’re a self-made man.

4/5 Stars

Witness (1985)

Posted on September 7, 2015 by 4 Star Films

I think of Harrison Ford much in the same way that I think of Paul Newman. They both play the brash, bold, smart alec characters that we adore as audiences. They make the perfect action adventure heroes but are not always respected as actors which is a shame. For Ford, his reputation hinges on a number of great characters from Han Solo, to Indiana Jones, to Rick Deckard. They all are magnificently memorable action heroes. Ironically it is the plain, seemingly everyday cop, John Book that allows Ford to truly show off his acting chops like I have never seen him do before.

The film begins when a young Amish boy named Samuel gets to take his first adventure into the big city with his mother, as they head to see some relatives in Philadelphia. Little Samuel has a pair of dark brown, wonderfully inquisitive eyes in which to take in this world that is so foreign to him. That is, in fact, one of the major themes of Witness, the colliding of two worlds that are at odds.

But anyhow, when he ventures into the restroom to use the toilet, he unwittingly sees a violent murder committed and he is able to hide in the stalls, but he also gets a look at one of the perpetrators. And so, just like that, this little boy who never spent a day in the real world is a key witness to a murder investigation.

That’s when steady, straight-arrow cop John Book comes into the picture. He’s not a bad man by any means, and he wants to wrap up the case quickly so he can let Samuel and his mother go as soon as possible. You can see he finds their customs strange, and Book feels a trifle awkward being around them, but he does his job the best way he knows how, by confiding in his superiors and having his partner watch his back.

Everything blows up in his face. He gets shot and he must make a mad dash with Samuel and his mother to their quaint Amish home. Now the roles are shifted as he must wait it out building up his strength as his pursuers try and locate him. His world of cops and guns seems to have no place in this farm community of peaceful people. But as a former carpenter and a decent individual, Book is able to adapt rather well. Rachael Lapp soon finds herself enjoying his presence around their home since she is a widower and her father-in-law Eli reluctantly allows him to stay.

Book learns how to milk a cow and helps in a barn raising, all the while building a rapport with Rachael, but others seem to be wary of the presence of such a man.

As would be expected, we have our final showdown between Book and his pursuers who are a lot closer to home than he would ever expect. When it’s all resolved he leaves the country peaceful once more, but not without some intense memories.

Peter Weir’s film has a rather interesting pacing for a thriller, starting out slowly, but we know it must be building up to some impending doom so I would reserve from calling it boring. When that moment comes, it becomes a breakneck thriller before quieting down once more in the Amish town. Then the last 20 minutes are that of a dynamic action film. However, it is in these more tranquil moments that Harrison Ford gets to show off his humanity, whether it is talking about guns with young Samuel or dancing to a car radio with Rachael. There’s no doubt that you have not seen Ford like this before, and it’s definitely worth seeing him in this gripping ’80s thriller.

4/5 Stars

Review: Jaws (1975)

Posted on September 1, 2015 by 4 Star Films

Alfred Hitchcock once was quoted as saying, in typical Hitchcockian fashion, “There is no terror in the bang, only in the anticipation of it.” A young Steven Spielberg channeled this type of sentiment when he directed the smash hit and archetypal summer blockbuster Jaws in 1975. It’s still a cultural phenomenon and for good or for bad, it has forever instilled a fear of great white sharks in the general populous.

The film is a man-versus-beast type of story. It starts off on Fourth of July weekend on a New England resort town named Amity. After a girl is found the beach chewed up, it starts a frenzy. Well, not quite initially because although police chief and mainlander Martin Brody (Roy Scheider) wants to shut down the beaches, the local mayor will have nothing of it. Really, the first half of Jaws is very much political, as the mayor attempts to do anything he can to keep the masses flocking to his town because Amity gets all their revenue from the summer months. Meanwhile, Brody has the beaches monitored, but that does not stop a young boy from getting attacked. Up until now, we have only seen the handiwork of the beast, but in a brief instant we can catch a glimpse of him and it is shocking.

The vacationers flee the shoreline, and Brody is left to answer to the boy’s mother since he did not close down the beaches. She holds him responsible. However, Brody’s hands are still tied, especially when local fishermen catch another shark that they assume is the culprit that has terrorizing the town. He is met by a young marine biologist named Matt Hooper (Richard Dreyfuss), who also realizes the gravity of this shark problem. No one will take him seriously except Brody, and Hooper labels him the only other sane man on the island.

Because all the precautions that are taken cannot avoid still another shark attack from going down. And it is at this point that Brody and most certainly the Mayor, have to change things. At a tense news conference, they must walk a fine line in order to assuage the locals and the business owners. Ultimately, Brody convinces the mayor to let him go out with the salty veteran seaman named Quint (Robert Shaw) who agrees to take the shark down for a fee.

For most of us, the second half is what we all remember or at least equate with the film (probably for the iconic line, “We’re going to need a bigger boat.” It is this part of the story that breaks the adventure down to three men, our stars, going off on a mission to take on the terror of a great white (ie. “Bruce”). It feels very Captain Ahabesque, thanks to the addition of the grizzled fisherman Quint, but if he is a stabilizing force it soon becomes obvious that not even he is fully ready to take on this behemoth creature. It seems like no amount of barrels, harpoons, or even a “shark-proof” cage can humble it.

What we end with is utter destruction that spirals out of control. That’s what makes this shark such an intriguing foe because we certainly cannot really call it evil, but it certainly is an overpowering force of nature. Brody stands in for many of us who have an innate fear of the ocean and what lies underneath the surface. For all the plucky young adventurers they have a stand-in in Hooper. I am struck by how tense this film is even to this day, and Spielberg never seems to show is hand too early and he never gives us too much of the shark. Otherwise, it might look faker, and it would lose that heightened anticipation. Above all, John Williams lent a great deal of potency to Jaws, single-handedly, with his ominous score. Without his score, Jaws is nowhere as scary and certainly not as memorable.

5/5 Stars

Terminator 2: Judgment Day (1991)

Posted on July 14, 2015 by 4 Star Films

Back in 1984 a strange life form came to earth in search of Sarah Connor and ultimately left a trail of destruction. It’s the same terminator (Arnold Schwarzenegger) who now shows up in the year 1991 intent on getting the right clothes, transport, weaponry, and cool shades to aid in the completion of his new mission. It’s the same terminator, except not really because he has been reprogrammed to protect young John Connor who will be the future savior of civilization as we know it. Right now he is a 10-year-old juvenile delinquent living with foster parents. His mother, the aforementioned Sarah Connor, is locked up tight in a mental institution after the events in the previous film.

But there also is a second more highly advanced terminator that Skynet has sent to assassinate Connor, and it becomes obvious that he is in grave danger. Both cyborgs converge on his location, and he flees with the help of his new found guardian. The terminator is programmed to listen to him and over time they form a bond with John teaching him slang (ie. the famed “hasta la vista baby”) and perhaps more importantly that he cannot kill everyone he sees.

They go to rescue Sarah from captivity on John’s bidding, but the other terminator has the same idea. The resourceful mother has plans of her own that are disrupted by witnessing her former executioner with her son close in toe. It’s all very confusing as they must alert her to the real danger and escape the present dangers.

Sarah leads them out of the city to the home base of a loyal friend who can give them resources and, above all, weapons. She sets her sights on Miles Dyson, the man who unwittingly developed the technology that would end in “Judgment Day.” In a fit of vigilantism, she mercilessly goes after the innocent man, for his work which would cause millions of future deaths. It takes the arrival of John and the Terminator to get her to calm down.

With Dyson’s help, they head to his office to destroy the prototypes for good, but they get a little company and it turns into a firework show complete with pyrotechnics and blockbuster explosions.

Yet again the shift-shaping, poly-alloy terminator pursues the trio and this time they are trapped inside of a steelworks. It’s a fitting locale for a desperate showdown with a wounded Sarah, a battered Terminator, and a thoroughly frightened John. Some last-ditch heroics finish off the futuristic assassin, but that is hardly the end of the story. John must say goodbye to his friend and probably the best male role model he’s ever had. He was a faithful companion to John, and he, in turn, came to understand why humans cry. There are just some things that cannot be expressed through words, protocol, or any type of rationale. The future is still to come, but at least for the present is safe.

I am unabashed to call Terminator 2 thoroughly enjoyable, because it embraces the fundamentals of a great sci-fi blockbuster, while never quite losing its human component. Perhaps we could have used more character development and less action, but the characters played by Linda Hamilton, Edward Furlong, and Arnold Schwarzenegger have enough depth to make them work proficiently. In fact, they are icons by now and I can understand why. James Cameron certainly knows how to develop thematic spectacle to the nth degree and this installment is no different. This sequel is bigger and better than the original 1984 film, which is a testament to not only the special effects but the story and characterizations. Hasta la vista Baby. Until next time anyway.

“If a machine, can learn the value of human life, maybe we can too” ~ Sarah Connor

4.5/5 Stars

Review: Goldfinger (1964)

Posted on May 31, 2015 by 4 Star Films

The film opens with a wonderfully unnecessary opening gambit, which allows us to reenter the world of dashing MI6 super spy James Bond (Sean Connery). His electrifying escapade culminates in the memorable quip, “Shocking, positively shocking” and just like that we jump headlong into his next adventure, Goldfinger!

Shirley Bassey’s striking rendition of the title tune reverberates over the metallic credits setting the tone for one of the great Bond films. It starts with the music and never wavers as we pick up with MI6 on a nice holiday in Miami Beach. He has his first run-in with international gold dealer and suspected smuggler Auric Goldfinger (Gert Frode). Bond has a little fun with the cheater at the expense of a young woman while also having his first encounter with the mysterious Odd Job.

Goldfinger leads Bond all over the place from Switzerland then back to the United States. MI6 discovers how Goldfinger does it while also crossing paths with Jill Masterson’s sister Tillie, who has a personal vendetta to make Goldfinger pay. It doesn’t go so well.

Bond is imprisoned but not before proving himself to be a nuisance. He is nearly mowed down by an industrial laser, but Goldfinger thinks better of it and ships him off to his base on a Kentucky farm. Bond gets his first tete-a-tete with pilot extraordinaire Pussy Galore, and needless to say, he is intrigued. Meanwhile, his American ally Felix Leiter attempts to track his whereabouts and keep tabs on his progress.

Imprisoned yet again, he, of course, escapes just long enough to witness the plans of Goldfinger to use a deadly Delta 9 nerve gas to incapacitate the defenses at For Knox so he can swipe all the gold from the stronghold.

He first gets rid of some lowly American mobsters and captures Bond again. Operation Grand Slam begins as Pussy leads her group of pilots over Fort Knox deploying the gas over the premises. It takes effect instantly and soon Goldfinger rolls in with his forces and Bond in toe. It’s like taking candy from a baby and Bond can do very little as he is handcuffed to the bomb which is to set off in the vault. A rather sticky situation indeed.

But alas it was all a ploy. The gas did not actually work and all the troops suddenly get up and convene on Fort Knox with Goldfinger and his forces still inside. The game seems to be up, but not before another shocking moment between Bond and his old nemesis Odd Job.

The rascally Goldfinger gets away but Bond at least ends up with Ms. Galore. He used all his power of persuasion to acquire her help. What happened to Goldfinger, you ask? He comes back to enact his revenge, of course, and it nearly works. Instead Bond and Pussy get in some passionate necking while the search parties are out looking for them.

It is hard to top this early Bond installment for a plethora of reasons. It has the best theme song. It has arguably the best villain (or villains if you include Odd Job). Perhaps the best Bond in Sean Connery. The best decked-out car in the Ashton Martin DB5. And a couple memorable Bond girls. When it is all said and done, it adds up to an enjoyable spy thriller stuffed with intrigue, wit, and a crumbling of early 1960s sensibility. Above all it’s a “positively shocking” piece of entertainment sure to give you a volt.

4.5/5 Stars

Review: From Russia With Love (1963)

Posted on May 29, 2015 by 4 Star Films

To Love it, To Love it Not… Sean Connery is back as Bond and so there is plenty to enjoy with From Russia with Love (1963). Out of personal preference, my top three favorite films in the franchise would have to include Goldfinger (1964), Casino Royale (2006) and this beauty, all packed with quintessential Bond.

Sean Connery is arguably the best Bond. Some of that resulting from being the original and also simply because he was made for the role with dashing good looks, an impressive physique, and one smashing accent. Next, comes arguably one of the best so-called “Bond” girls in Tatiana Romanova (Daniela Bianchi) who plays the beautiful Russian opposite the handsome Brit. They’re a match made in heaven beginning with steamy encounters, followed by violent escapades, and topped off with playful romance. There’s not more you would want, except action and villains and gadgets, which we also get along with some ubiquitous Cold War sentiment.

In this installment, the Soviets are pitted against the CIA and MI6 with the nefarious SPECTRE manipulating both sides. They have received the aid of one of the Soviet’s highest officials in Rosa Klebb, who puts their plan into action. She, first and foremost, recruits deadly assassin “Red” Grant (Robert Shaw), followed by the pawn Tatiana Romanova, who works at the Soviet consulate in Istanbul. She is to be the siren to lure Bond into a trap with the tantalizing promise of a Lektor device (which MI6 desperately wants).

Thus, as any good spy would, Bond goes after this presumed admirer and first meets with station head Ali Kerim Bey. One man is dead and the Soviets suspect the Westerners. Bey’s office is bombed and the Soviets are the obvious culprit. However, the whole time it’s Grant working incognito.

Bond is taken by Bey to a gypsy camp for refugee and after an evening capped by ambush, he has his first meeting with none other than the beautiful Romanova. The new accomplices ultimately steal the Lektor without a hitch and board the train as “newlyweds” with Bey. However, the ever lurking Grant is waiting for Bond and his companions. Without getting into all the gory details, it sets the stage for a great fighting sequence.

007 gets away with a recently drugged Romanova and puts a helicopter as well as a fleet of motor boats out of commission single-handedly. Number 1 of SPECTRE is very displeased, and Klebb has one last time to make things right. She has a wicked pair of kicks. That’s over soon enough.

What’s left is a romantic gondola ride with our two lovebirds and the notes of Matt Monro playing over the kisses. Talk about a first date, this one was a great one, even for all us third-wheelers.

Goldfinger maybe the apex of Bond viewing, but From Russia with Love is a close contender for that title. Its action does not look half bad even after 50 years, and Sean Connery is quite the hero. What more is there to say about Daniela Bianchi except God was very good to her. Very good indeed. It’s a great adventure with everything you would want and expect in a spy thriller. It’s from Russia with love.

4.5/5 Stars

Scott Pilgrim Vs. The World (2010)

Posted on May 14, 2015 by 4 Star Films

Scott Pilgrim plays out like a live-action video game with sound effects, tokens, pee bar and all. It’s a great riff off the all too typical teen comedy. It has angst, attitude and quirkiness thanks to Edgar Wright and it still finds time to be utterly hilarious. Michael Cera plays his typical awkward young man which is no surprise. However, Anna Kendrick, Kieran Culkin, Aubrey Plaza, Chris Evans, Brandon Routh, Brie Larson and Jason Schwartzman among others bring a lot of wit. So much sass to go around; it’s quite entertaining.

I will say it again that this film is an extremely absurd journey as we watch Scott battle Ramona’s (Mary Elizabeth Winstead) seven evil exes. He has a complicated former relationship of his own with Knives Chau (Ellen Wong) who never stopped loving him. Then there’s his doting younger sister Stacey (Kendrick) and his roommate Wallace (Culkin), who is always ready with some tough love or advice.

The destination seems obvious. Scott has to defeat the exes to get Ramona for his own, but it is not quite that easy. It never is and this film becomes about the path that these characters take. It’s not your typical formatted film, so leave your reservations outside. During its most enjoyable moments it becomes an utterly entertaining live-action-cartoon, musical mash-up adventure set in Canada. Don’t ask questions, just watch it for yourself. It’s certainly one of the more unique films in recent memory.

4/5 Stars

The Revenge of the Sith (2005)

Posted on May 12, 2015 by 4 Star Films

Revenge of the Sith was the film that all Star Wars fans were looking forward to. For the younger generations, it meant the closure of the trilogy we had grown up with. For older fans, it meant that the Star Wars saga might finally be complete in some sense of the word. All movies linked together in this crucial last piece that smoothed out any last ambiguities about how Anakin Skywalker evolved into the feared Darth Vader.

It was a pretty big deal because it would either close the series on a controversially sour note or with the type of visceral storytelling George Lucas inundated us with in the 1970s. This certainly is no Empire Strikes Back (the darkest film of the original saga as many know), but it was probably the most enjoyable installment of the new trilogy and that is the most genuine of statements. As pure fans we liked it, and it was a worthy installment full of action as well as personal conflict.

Is it even necessary to go over the plot of Star Wars? Before anyone answers, I will give a recap more for my own sake than anything else. The Clone Wars are still being waged against the Separatists and the tides are slowly turning. Anakin is now even more renowned as he continues to team up with his Jedi Master and mentor Obi-Wan. But Revenge of the Sith quickly turns into a story of inner turmoil and political unrest with young Skywalker caught in the middle.

He is secretly married to Padme, taken under the wing of Chancellor Palpatine and then called on by the Jedi Council to spy on the Chancellor. It’s a web of confusion, anger, and fear going way back to his mother’s death, visions of his wife dying and perhaps his unfortunate nickname “Ani” leading to masculinity issues. Anyways, that is the situation that he finds himself and ultimately Palpatine (as we always guessed was Darth Sidious) poisons Anakin, who slowly turns against his friends and the Jedi Council.

Although we always knew this moment was coming, it is still so satisfying and painful to see it play out. It leads to some sad deaths (ie. Mace Windu) and some of the most epic lightsaber battles, going so far as to pit friend vs. friend against the backdrop of lava and John Williams’ score.

It is very hard not to appreciate this moment in the narrative where we finally see how the Empire came into being. How Anakin became Vader. How Luke and Leia were split up and how Obi-Wan became a hermit in order to protect the boy. As far as the films go, the original trilogy will undoubtedly remain the favorites, but that does not take away from the entertainment and emotional energy of this film.

Sith take Revenge and Jedi simply Return to put things right. Now I have to go back and watch the original films because I would not mind a happy ending about now. The beauty is that the bleak conclusion of this film is not the end of the story. Thank goodness we still have Yoda.

4/5 Stars