Superb Scenes With Seanc

Good review. Not seen this. Anderson's films always strike me as being really bizarre, and that's just from seeing the posters, but I've never seen any of them. Have you seen any of his others?

You obviously didn't read his review.

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Yeah I love them all to varying degrees. He has gone from a director I thought was really good and unique to my favorite director, in the last year and a half. Start with Rushmore, watch it twice within a few months time and then dig in to the rest of his stuff. If I had to do it all over that is how I would approach him.

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Letterboxd

Not sure how I missed that.

I haven't disliked any of Anderson's films, but his quirky style and aesthetic isn't really for me. I guess my favorite film from him so far is The Fantastic Mr. Fox. I haven't seen The Grand Budapest Hotel yet.

Director: Steven Speilberg

Cast: Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore

"E.T. phone home."

"You could be happy here, I could take care of you. I wouldn't let anybody hurt you. We could grow up together, E.T."

"I'll be right here."

E.T. came out in 1982 when I was six years old. I saw it twice in the theater with my parents. I remember that vividly. It was my first memory in a movie theater and going to see something twice is something that never happened with my parents again. Believe it or not after that is when my relationship with the movie gets murky. I know that Speilberg waited years to release E.T. on home video. I can recall going to the video store to rent it and it not being available. When he did finally release it we had a copy at my home. It was in the big clam shell packaging like Disney used for so many years. I believe I was thirteen and I watched it a few times over the next year. I loved it but then simply put it to the side. I knew all the references in the years that followed. Phone home, Reese's Pieces, and flying bikes are all things that you don't even have to have seen the film to recognize where they came from. I never had a desire to see it again though. I felt like I knew it and it was apart of my childhood but probably wasn't going to be something that appealed to me in my adult life.

My desire to watch it again grew in the past few months after watching Close Encounters for the first time. I really enjoyed most of that film but it fell apart for me in the final third in a way that I didn't remember E.T. doing. I compare the films not only because they are from Speilberg but because I think they have a very similar arc. Sure enough the tone through the first two thirds of E.T. was just as I remembered. Nobody does Americana like Speilberg. His families are perfect, in that they are not perfect, which makes them perfect. It is not just that however. The feeling of time and place in E.T. is unparalleled. There are so many little touches that add to the tone it would be hard to do them justice by naming just a few but I will anyway. D&D, Space Invaders T-Shirt, whole hamburger on a fork, speak and spell, Star Wars action figures, and every single scene that takes place in this suburb neighborhood that could be in any state in America. The way he writes his characters also gives them such a realistic feel. The whole family is wonderful but I especially love the relationship of Elliot and Michael. The way they interact gives us such a true sense of who these brothers are. Michael is older and at times gives Elliot a hard time as is to be expected but at the same time you know that these brothers are having the same experiences and would step in front of a bus for each other. A great example of this is before Michael is even introduced to E.T. He comes home from school knowing Elliot was faking being sick. He gives Elliot a hard time for a split second but then immediately switches gears and begins to tell him about the day and a friend's high score in a video game. Another character moment that demonstrates the genius of Speilberg's small touches comes when the mother is frustrated that the kids are not yet back from trick or treating. She storms to her car frustrated that she is being put out and mutters under her breath the word Mexico. This is a very simple call back to when Elliot informs his mom that their dad is going to Mexico with his new girlfriend. No one had mentioned it sense but it was there the whole time. It is a very small thing, something you could easily miss if you blink. It speaks volumes about the care that was put into these characters and why they feel so real. It is why we feel so much affection for them in the short time we spend with them. It is why they live forever in our pop culture zeitgeist.

I have droned on quite a bit without even mentioning the star of the show, E.T. He is a wonderful creation. There are many things in this film that have not aged all that well but thankfully E.T. himself is not one of them. He is still an amazing looking puppet. Full of character and humor. We could have certainly had a compelling story without it but I love the way that they decided to connect E.T. and Elliot. It adds emotional depth that maybe would not have been quite as heart wrenching otherwise. It also allows them to give us one of the better scenes in the movie. I can't imagine anyone not smiling during the frog dissection sequence. Gertie's interactions with E.T. are also sweet and funny. Her teaching him to speak, giving him the flowers, and calling him the man on from the moon are all a big part of what makes this movie special. Gertie is a pretty small character but once again one that seems authentic and essential to the film. I was really interested in this viewing to see how the third act played out for me. As I mentioned it all but ruined my experience with Close Encounters and I was desperately hoping for a different result here. E.T. and Elliot did not disappoint. From the moment E.T. pops out of the incubator and declares “E.T. phone home” I remembered why I love the ending of this movie so much. The bike race is still one of the best chase sequences ever put to film and then we get the goodbye. I am not ashamed to say I tear up right along with Elliot. “I'll be right here” is one of the great last lines for a movie.

Needless to say I am so happy I decided to return to this astounding film. I am sorry it took me this long to remember why it was one of my favorites. After watching it again it is firmly back where it should be among the movies I love.

E.T.'s a good movie. But I revisited it myself not long ago and found E.T. the character to be rather creepy looking. Like a giant turd with eyeballs. I still enjoyed it, but definitely no longer thought he was cute like I had when I was a kid.

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I saw E.T. as a kid. I haven't seen it since. Therefore I don't count it as watched since I really don't remember it.

I am going to start using this to describe bad movies.

Bad movies have eyeballs?

Yes.

Nice review Sean, it's a great movie that doesn't seem to get the credit it deserves anymore. I also saw it multiple times at the cinema, and while my tastes have changed, I can still happily say it's an A+ movie. I included it on my 80's list, because it had to be there.

Director: Paul Thomas Anderson

Cast: Phillip Baker Hall, John C. Reilly, Gwyneth Paltrow

"It's always good to meet a new friend. I'll see you later."

"I know three kinds of Karate: Jujitsu, Aikido, and regular Karate."

"You know the first thing they should've taught you at hooker school? You get the money up front!"

Our introduction to Hard Eight is a look at John (Reilly), sitting despondent next to a diner. He is approached by our protagonist Sydney (Hall), for whom which the movie was originally named. Sydney simply asks John if he would like a cigarette and a cup of coffee. John reluctantly agrees and sits with Sydney in the diner. Sydney is inquisitive to the point of pushy, he wants to know why John is here and what his plans are. At the same time he seems to genuinely want to help John out of his situation. John is reluctant, as are we, but he also seems to be out of options so he agrees to travel with Sydney to Vegas and take some advice and money. This initial exchange is engaging. It tells us quite a bit about the characters while still leaving plenty of mystery. It raises many questions about the characters. Some that will not be answered till the end of the film. Probably some that will never be answered for many. It gives the film a tone of mystery that will never go away. This very first scene in Anderson's very first feature film can sum up quite nicely why he has become one of my favorite directors over the past three years. His characters are rich and the dialogue written for them is smart and funny. His scenes are full of suspense even, and maybe especially, when it is just two people talking and trying to figure each other out. He sets the atmosphere perfectly through his scores which I find to be the best choices of any director working right now. He moves his camera perfectly, always framing his shots just so. His themes are obvious but handled in a way that is ambiguous. Most of the characters in an Anderson movie never get any kind of real closure unless they end up dead.

That brings us back to Hard Eight. The main theme becomes obvious quickly. Sydney is a father figure. He is a father figure to John and desperately wants to be one to Clementine (Paltrow) when she enters the picture. It all but gets spelled out for us when Clementine asks Sydney about his family. Sydney divulges that he has a son and daughter who he never sees anymore. Clementine is a prostitute so she initially sees Sydney's motivations as sexual. Even John who knows Sydney really well by this point is unsure of his intentions with Clementine. Sydney quickly squashes any perceptions of impure motives. For a moment we get to rest in the pureness of the relationship of these three individuals. Two despondent souls who are getting affection and understanding from a fatherly figure who still has an aura of mystery surrounding him, but undoubtedly wants something more for these two individuals.

When the main conflict in the story comes we further see how invested Sydney is in these two, particularly John. If you were not wondering what Sydney's motivation for committing to them before this point, you have to be after. The first time I watched this film at multiple points I thought he would simply remove himself from the situation. When he didn't I had no idea why someone would put their neck out this far for someone who had begun to take part in criminal activity. After the situation calms we get another great scene, this time between Sydney and Jimmy (Jackson). We had met Jimmy previously. He is someone who has befriended John but had less then endeared himself to Sydney. He kind of loomed over Sydney and John's relationship throughout. He is not scene much to this point but is mentioned on multiple occasions which definitely gives off the vibe of “up to no good”. The scene starts slowly, with Jimmy simply inquiring about John under the pretense of making sure he is okay. Sydney plays along for a bit, the whole time waiting for the other shoe to drop. Sure enough it does, culminating in us getting the bomb on us we have been waiting for. This revelation explains very clearly why Sydney is so attached to John but clears up little else. The next two or three scenes are quite satisfying. In true Anderson fashion he gives us some closure but leaves enough loose threads for us to pull at as we please as well.

Hard Eight is not my favorite Anderson film. I do think it is an under rated one though. Maybe if it had been my first one to watch I would not feel this way. Watching it now I can see so much of the brilliance that is to come. However it also stands firmly on its own as an outstanding film. I strongly recommend checking it out if you have been reluctant to do so for any reason.

I can't honestly remember what I disliked about Hard 8; just that it was disappointing given my interest in the subject matter. I thought it was ok but your review kind of makes me want to watch it again.

I went in the first time thinking it would be a whole lot of cool gambling stuff. I like hustling and card counting, things like that. Hard Eight is not that but it is a really good character drama.

Yes you're right, it was different than I expected, although it at least had some of those elements. I will say that, even though I didn't love it the first time, it seems like a movie that's pretty good for repeat viewings.

Hard Eight is the only PTA film I haven't seen. I really need to remedy that, since I already consider him to be one of my favorite directors.

Go back through his filmography with me captain. I am going to watch all his movies over the next few months before Inherent Vice comes out. I would love to see your write ups for each. You write excellent reviews.

Director: Richard Linklater

Cast: Ellar Coltrane, Patricia Arquette, Ethan Hawke, Lorelei Linklater

"You don't want the bumpers, life doesn't give you bumpers."

"Because I don't have all the answers..."

Ecclesiastes 1:4-9

If you are reading this you know the mechanics behind this movie. One kid filmed once a year for twelve years. Simple but ambitious. I actually think ambitious is the wrong word, although pretty appropriate. I think a better word is courageous. Most of us can't keep still with what we want to do in our lives for a year, let alone twelve. To take on this endeavor Linklater had to have a singular vision for what this film would be twelve years ahead of time. Any waffling in the least and it would have showed up in a major way in the final product. He did not waver. The finished film is seamless. So seamless that I would not be surprised if people who do not know the story behind the filming of Boyhood did not even realize the same child actor was used throughout. The best example of how seamless this movie really is lies in the editing in my opinion. Li.nklater chooses to use no title cards or fade outs to let us know time is passing. We simply know time has passed because the characters are older. Haircuts, music, living situations, and even video game systems are all the indicators we get of time moving forward and what year we may be in. The film is put together flawlessly. Of course the novelty of Linklater's vision is not enough to sustain us for nearly three hours. We are movie goers, and as such we want to be entertained, inspired, and moved emotionally. Boyhood delivers on these levels as well, even if it is not how we expect.


Boyhood has to be the most realistic movie I have ever watched. If you have grown up in this kind of middle class American culture there is no way you are not going to recognize a character type represented. The dialogue is fluid but a bit clunky at times. Clunky in a good way. When a character meets a new person or interacts with someone they have not in a long time they don't always know what to say. Other times we enter conversations in mid-stream. The characters are already very comfortable and the dialogue feels that way. Whether this is script genius or a lot of improvisation doesn't matter, Linklater deserves credit. It is obvious he set out to make the tone of this movie very realistic and he succeeded. The humor in the film is another great example of the realism. At no point is this film meant to be knee slapping funny. We are meant to find humor in the small moments in these characters lives, and the audience I watched this with did. A lot of the the humor comes from the recognition of just how realistic this movie is. A silly song you liked, a stupid friend, or an over bearing boss. All of these are great examples of Linklater using real life circumstances to get the audience on board with these characters and their situations.

The small moments is what Boyhood ends up being all about. There are numerous times in this film where Linklater uses misdirection in the opposite way that most movies do. He sets us up to think this is where the big turning point in the boy's life is going to be. Someone is going to die or be physically beaten. There is going to be an argument between two characters that they will not be able to come back from. I know I was not alone in seeing these moments coming because there were audible gasps from my theater at these points. The moments do not happen though. It is Linklater once again letting us know that is not the story he is telling. Not that these kind of situations could not happen in real life. I think he simply wants to keep us grounded in the reality that most of us live in. Another way Linklater keeps us in the small moments is to not over emphasize the big moments. These moments exist of course. We see birthdays, moving to other towns, friends lost, and even parental reunions. They are simply not given the same weight as in other films. They simply propel our characters forward into the next small moments of their lives. It is what keeps Boyhood so grounded in reality.

The last thing I want to talk about concerning Boyhood is perspective. My southern conservative neck hairs stood up a bit at a couple points in this movie. I started to even become a little annoyed at one point when a couple of the characters are putting up Obama signs in yards before the election. They come upon a house and ask the man if they could put a sign up. The disdain in his face, and the vile he spits at the kid was reprehensible. Not that this type of person doesn't exist, they do, but it was such a stark contrast to the liberal woman we see moments after who is unbelievably sugary sweet and inviting. I am glad that I didn't stay in this moment long and I am glad this moment exists. It made me realize my ignorance was starting to creep in. I was almost missing the entire point of the film. Every adult we are seeing is completely from our protagonists perspective. Of course both the conservative and liberal are caricatures. This is how they will be talked about and remembered by a young man going door to door and experiencing divisive politics for the first time. That is why his mom is either shown sitting in a pile of papers with her reading glasses on or with a man in a social situation. This is why his dad swoops in every other weekend like a knight in shining armor waxing philosophical and bearing gifts. When he gets a new family, he is losing his “cool” and driving a minivan. His grandmother is the nicest person in every room to everyone except his father. His boss is geeky and over bearing. Every single person is seen as they would be remembered by a boy growing up. It clicked suddenly and seemed like it should have been so obvious to me sooner. Another example of Linklater writing this movie perfectly.

So I have been gushing for a few paragraphs now and if you are still with me you are probably wondering, “why no perfect score?'”. The answer is this movie is so grounded in reality that it lacks the emotional punch in the gut that I was hoping for. It is a movie I will talk about. It will more than likely be in my top five this year. I admire it endlessly. I will probably not be returning to it very often however.


3 Coming Of Age Films I Love:

Great review Sean. I think you know how much I love Boyhood, it is a masterpiece to me and Linklater's magnum opus. Bluedeed showed me this essay about it and it put in it a quote from Waking Life, which was made by Linklater the year before Boyhood started production. It's strange how much it relates to Boyhood.

http://www.reverseshot.com/article/boyhood