JayDee's Movie Musings

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Plot – 1868. Civil War veteran John Carter (Kitsch) has no interest in fighting anymore. When a Colonel attempts to force him to re-enlist to battle the Apachem Carter escapes and finds himself hiding out in a cave. Stumbling across unusual markings on the cave walls he is surprised by the sudden appearance of an individual holding a medallion. After shooting the man, Carter grabs the medallion and is transported across the cosmos to Mars. There, he discovers a diverse world of warring cities and a race of aliens known as Tharks. Despite his attempts not to, he finds himself reluctantly drawn into a war between the Zodangans and the Heliumites. Finding allies in a Helium princess, two Tharks and a dog-like beast named Woola he is drawn into an adventure that is out of this world (sorry, I just couldn't resist such a cheesy line! )

It took me quite a while to really get into this film, but eventually it won me over and I found myself really enjoying it as it came down the home stretch. I think to get the most of this film you really have to attack it without a trace of cynicism, forget all the criticism that was thrown it's way. I think it's a film I could easily have fallen in love with instantly when I was younger. But now at 26 I'm bitter and cynical and as a result it took it's hokey charms a bit longer to penetrate my steely shell. But penetrate it did, and in the end I found a film full of pulpy fun. It's got quite a quaint, old fashioned feel to it which I found quite endearing.

The one area in which the film absolutely excels is undoubtedly in its effects. They look absolutely fantastic. And it's not just down to how they are realised, but as a result of their design. In particular I love the design of the ships; like large, metallic dragonflies. That said, just about everything else is fantastic; the aliens, the forms of transport, the white apes, the city structures etc. The only minor gripe I would have when it comes to the art design and CGI is the creation of the planet Mars itself. It just doesn't look particularly other-worldly; indeed it's almost identical to the Arizona deserts where we first meet Carter.

And then of course there are the aliens known as the Tharks; a race of towering, green, six-limbed warriors with tusks. They are wonderfully realised characters and allow the actors portraying them to actually create their character, Willem Dafoe especially succeeding here as Tars Tarkas. His buddy-cop style pairing with Kitsch's Carter provide many of the film's funniest moments as they both bond and bicker throughout. They are also just an interesting race to observe, particularly their attitudes toward weakness which sees them even destroy babies who have yet to hatch. Indeed they are probably the film's most fascinating element, and it would have been nice to spend more time with them. Oh I nearly forgot what was actually my favourite CGI creation; Carter's alien-dog Woola. An immensely loveable companion, loyal to a fault and with a delightfully goofy and clueless expression.

The film's plot is fairly dense and one of the film's biggest flaws I felt was that it often wasn't fully explained and fleshed out. We're just dropped into this world and the names of characters, tribes and cities are being bandied about all over the place – Jeddaks, Tharks, Therns, Zodanga, Helium, Tars Tarkas, Barsoom etc, and we have to try and take it all in and make sense of it all; who's fighting who, who lives where. And for me anyway, they aren't really names that stick immediately to mind and roll of the tongue. The film has a decent mix of ingredients in terms of dedicating time to the pulpy action (some of it very impressive), but also to the character stuff. They're not always integrated that well together however, resulting in the pacing being a little off at times.

I think one of the film's biggest problems, and perhaps one of the reasons for it flopping at the box office, is that it's working from a story published 100 years ago. And an incredibly influential story at that. It's influence has been all over numerous films and as a result it's kind of already been seen on screen many times before, whether it be as Star Wars or Avatar, or any other number of sci-fi adventures which share the same basic structure of distant planets, princesses, aliens, an evil force, wars between great armies etc. So any originality the story may have had has now disappeared.

As with the film, it took me a while to warm up to Taylor Kitsch. While I did end up liking him I think it was more to do with the character than his performance. I just felt he was a touch lacking in the charm and charisma needed for such a heroic figure. Fortunately however, opposite him there is a quite wonderful discovery in Lynn Collins as Dejah Thoris. She's not an actress I was at all aware of and I don't think many other people were either. Her Dejah is a feisty and kick-ass creation, and truly stunning to look at. Convincing fully as a princess from another world. needed performances.

Forget about all the reviewers, bloggers and douchebags who revelled in jumping on John Carter's battered box-office carcass. If you fancied the film or feel it could be your kind of thing, give it a go and make up your own mind. Perhaps you'll still hate it, but I think it's worth a shot.

Conclusion - So as you can see from my review the film certainly has its fair share of flaws – uneven pacing, occasionally incomprehensible plotting etc - and yet it has something about it. In some ways it's a bit of a chaotic mess, but I just found it to be quite loveable with a goofy charm. It's like the movie equivalent of a little puppy. He may piddle on the carpet or destroy something and you'll be angry for like two seconds, and then he'll look at you with his puppy dog eyes and you can't stay mad. You just want to pick him up and give him a hug. I'd say this film has a chance (a small chance but a chance none the less) of really growing on me and becoming a film I could perhaps love.

Plot – In a crime-ridden and dystopian future, the city of Detroit is run by a large corporation by the name of OCP (Omni Consumer Products). When they buy over the Detroit police department, they make it their goal to introduce a robotic solution to the crime spree problem that is plaguing “Old Detroit”. Veteran cop Alex Murphy (Weller) is transferred to the department and partnered with Anne Lewis (Allen). While on the track of a vicious gang led by Clarence Boddicker (Smith), Murphy is cornered and brutally killed, becoming the prime candidate for OCP's robotic solution; a fusing of a human body and a steel shell to create Robocop. This new crime-fighting cyborg is initially a huge success, but before long Murphy's memories being to seep through and he becomes intent on revenge against the gang that killed him. They aren't the only ones responsible however; in league with them is OCP president Dick Jones (Ronny Cox).

There are two ways to watch and enjoy this classic slice of sci-fi from Paul Verhoeven. If you're just looking for some mindless action film with stuff blowing up this will do the job; just switch off your brain, sit back and enjoy. However if you wish, the film can also serve as a highly entertaining, and very smart satire. The majority of this satire is achieved through the commercials and news reports which just randomly interrupt the film. And even though this film is now over a quarter of a century old it's all still pretty relevant. The newscasts talk of a society in chaos, and the ads highlight amongst other things society's attitude towards violence and it's use in popular culture, particularly when it's aimed at kids (gotta love the board game Nuke Em!). It's a film that presents spectacular violence, while also satirizing it. There is also an ad satirizing the apparently common need for Americans to drive big gas-guzzlers, with the 6000 SUX (not SUV but SUX, I'm guessing done quite deliberately) the big new car in town.

Alongside the ads there is also the general satire of big corporations, the people they employ and their effect on society. The employees at OCP think nothing of killing each other off to advance their careers, while the corporations as a whole are taking over the whole world. Everything is being privatised with profit the only consideration. The police department should be a noble entity but under OCP it is purely seen as a business and a money-making venture. And the executives at these big companies work side by side with the lowest criminals on the street, for this film there is no difference between them.

Film trivia – Unsurprisingly much of the production's focal point was placed upon the realisation of the Robocop suit. Indeed so important to the film was the suit that it actually influenced the casting. Arnold Schwarzenegger was briefly considered for the role of RoboCop, but those involved with the film were concerned he would be too bulky in the suit and end up resembling the Michelin Man. Michael Ironside was likewise considered for the role, but the idea was abandoned when it was realised they would need an actor with a much smaller frame to fit the suit. And perhaps losing out on the role wouldn't have been that bad for Peter Weller. The suit was so hot and heavy that Weller was losing 3 lbs a day from water loss. Eventually, an air conditioner was installed in the suit for his comfort.

The action is fantastic, delightfully overblown and gratuitous stuff. Though initially it comes as a bit of a shock until you get into the swing of things. The first really significant moment of violence is a truly brutal one. It sees Murphy at the mercy of Boddicker's gang who begin to systematically dismantle him with gun shots to various parts of his body. It's really quite harrowing stuff. I am never bothered by violence or gore on screen, and rarely have I ever been; it's something I'm completely desensitised to. This scene however left an indelible mark on my mind when I stumbled across it on TV as a kid. The moment his hand gets blown off was seared into my memory.

The film also features one of my favourite ever big screen deaths. It's a film that features quite a few memorable and brutal deaths, such as the moment where the ED-209 malfunctions or Murphy's vicious slaying which I already mentioned. However, above anything else is the death of one of Boddiccker's cronies, Emil. Hunting down RoboCop at an abandoned steel mill, Emil is driving a truck and attempts to run down Robo when he crashes into a large vat of toxic waste. Just when we think that might be the end for him he emerges from the back of the van looking like some mutant from a 50s B-movie with his skin dripping off. And then as if he wasn't already having a bad enough day, a car comes along and crashes into him, turning him into an exploding ball of goop which showers the car. Awesome!!!

Film trivia – Turns out Robocop actually did help fight crime, though not in a manner than anyone could have envisaged. In Sacramento, California a robbery suspect fleeing police attempted to hide in a dark movie theatre. Things went wrong for him however when he became so engrossed in the movie on screen, Robocop, that he failed to notice that police had evacuated all of the other patrons from the theatre. They then flipped on the lights, stunning the man who was then taken into custody.

For a film of this nature, almost as important as a strong hero to root for (if not equally so) is a villain or group of villains that we can rejoice in seeing defeated. And this film has some crackers; a gang of tremendously detestable villains that we just delight in seeing killed off. Leading the way is Red Foreman (well technically it's Kurtwood Smith, but he will always be the grumpy dad from That 70s Show to me) as the truly despicable Clarence Boddicker. There are very few villains creepier, sleazier or more repugnant than this piece of trash. And he's probably the charmer of the group! Alongside him are a series of unseemly but colourful characters such as the unfortunate Emil whose demise I already discussed. Almost as loathsome as Boddicker is Ronny Cox's OCP executive, Dick Jones. He may wear a suit and look classier than the street criminals he associates with but this smarmy b**tard is just as contemptuous a creature as they are.

The design for Robocop himself is just perfect. From the mind of visual effects and make-up artist Rob Bottint, it's actually quite a simple design, but so evocative and iconic. The suit is a great piece of technology that is both very intimidating and even scary for the criminals, but it retains just enough of Murphy's humanity to ensure it stays sympathetic and oddly loveable. No matter the creators original intentions at no point do we feel it is merely a heartless machine doling out justice. There's still a human heart in there somewhere. And in congruence with the suit itself in creating this human element is Peter Weller's performance. Initially coming across as a cocky smart-ass when he's Alex Murphy, when he dons the Robocop armour a much more sympathetic character emerges. It's a tragic, haunted man who is deeply damaged. Murphy may have difficult to really care for, but Robocop is someone we can get behind and support. Oh and Bottin's make-up job on Weller when the visor/helmet element of the suit is removed is an astonishing accomplishment.

Conclusion – One of the best films of the 80s which thrills with its action, and delights with its satirical edge. It really is such a smart film, so much more so than you would ever believe from a film with a name like Robocop. I said it's one of the best of the 80s, I also think it's perhaps one of the most under-rated, some people perhaps only remembering it for its violence than its intelligence.

Plot – Seriously, you care about the plot?! Ok, here goes. Natalie (Diaz), Dylan (Barrymore) and Alex (Liu) are the “Angels”. Working for a mysterious millionaire called Charlie, and assisted by Bosley (Murray), they're a trio of private investigators who are smart, sexy and tough as they come. On their latest assignment they are hired to recover stolen voice-recognition software. Despite a few obstacles which they must overcome, they are successful in their mission. Except that not everything is as it seems. And the lives of Charlie, and his Angels, are in danger.

A while back, after lots and lots of nagging Honeykid finally gave in and posted his top 100 films list. And it was going surprisingly well for the most part. Until it came to third position on the list...and Charlie's Angels appeared! People were left stunned, baffled and appalled by such a pick. People have already convicted him of insanity. Well I'm here to mount the case for HK's defence...to an extent.

Film trivia – The film was not without its problems. The script in particular was a huge task to overcome. The script was re-written at least 30 times until it was deemed acceptable by the producers and director. In total, a massive 18 writers worked on the script before the film made it to screen. Even when the script was set there were still problems, with an argument between Bill Murray and Lucy Liu forcing production to shut down for a day.

The main purpose of this film is pretty much a showcase for pretty girls. And on that level it's pretty much perfect. The film presents us with three beautiful ladies and places them in a variety of different outfits and scenarios for us to delight in. And they even change the style and colour of their hair throughout the film so that everyone watching can get their perfect look. It kind of reminded me of the Ryan Gosling flick, Lars and the Real Girl, in that you can choose what you want for your own personal taste. I'd like to see Drew Barrymore with black hair in a kimono. Ok, now a blonde Lucy Liu dressed in lederhosen. Can I see Cameron Diaz dancing in her underwear? Oh I can? Awesome!!! And just like Honeykid, I do have to admit my love for Drew Barrymore. I just think she is f**king adorable!!! I love her so much!!! I also love redheads. So Drew Barrymore as a redhead? Heaven!

Outside of they eye candy there is other stuff to enjoy, mostly down to the fact that the film does not take itself seriously in any manner whatsoever. And they make that clear right from the opening scene where the girls jump out of planes and defuse a bomb in mid-air. Oh yeah and Drew Barrymore just happens to be wearing a mask that makes her look exactly like LL Cool J!!! The action scenes are gloriously over the top with our angelic trio able to pull of ridiculous feats of athleticism that not even the likes of Bruce Lee or Jackie Chan would ever have dreamed of. And the sense of fun permeates the whole film, right down to the playful soundtrack full of daft and catchy songs. So whether it be Diaz dancing to “Baby Got Back”, Lucy Liu being a sexy bad ass to “Barracuda”, a fight scene set to “Smack My Bitch Up” or pretty much every song ever written that features the word 'angel' in its title it's just enjoyable stuff.

When it comes to the story, all I can really say is plot schmot!!! I'm writing this just a day or two after watching the film and already I can barely remember anything about it. But that really doesn't matter. Honestly there's probably no other film I can think of which actually depends less on its plot. It's all pretty much nonsense but it matters very, very little. It's just a film to sit back and enjoy; it's a terrifically easy watch, just light and breezy fun.

Film trivia – The Angels themselves could have taken on a much different look, with seemingly every actress in Hollywood linked with the film at one point. Jenny McCarthy and Penelope Cruz both auditioned, while Angelina Jolie and Jada Pinkett Smith turned down offers. Thandie Newton actually was cast but was later forced to drop out. And as for those who were considered, there was - Milla Jovovich, Alyssa Milano, Julia Roberts, Salma Hayek, Liv Tyler, Lauryn Hill, Aaliyah and Jordan Ladd.

Of course all of this silly fun wouldn't work if it weren't for a game cast. And Angels certainly has that. Drew is delightful as usual, and Cameron Diaz is rather adorable here. She really goes for it, whether it be wearing massive braces or dancing in her knickers, and her bumbling, slightly geeky character is really sweet. Of the three girls Lucy Liu is definitely the one given short thrift. It's not just about the angels however. The cast is rounded out with some talented and surprising individuals. Bill Murray is great as usual as Bosley, while Sam Rockwell and Crispin Glover deliver deliciously over the top menace as the nemeses for our Angels.

Conclusion – Fun. It's a word I've used frequently throughout this review, and this film is just a great example of it. You could argue that this film's main appeal is to horny 12 year old boys. Well if that is indeed the case I guess then that I'm still just a horny 12 year old at heart! At the start I said I'd be defending HK to an extent. I qualified with 'to an extent' because I still think he's rather insane to have it as his no.3 film. However I'm more behind that as a third pick than something like 2001: A Space Odyssey.

Plot – The US battleship, the U.S.S. Missouri, is on its way to be decommissioned. It's not going to be a quiet journey into retirement for the ship however. Under the guise of a birthday celebration for the captain, a group of terrorists have got onboard the ship and taken control. Under the leadership of former CIA operative William Strannix (Jones), and in conjunction with the treacherous Commander Krill (Buesey) the terrorists plan is to sell the nuclear arsenal aboard, and everything seems to be going exactly to plan. Except for one little thing – the ship's cook, Casey Ryback (Seagal), who just also happens to be an ex-Navy SEAL. That fact aside, just how much trouble can one man cause? A hell of a lot as it turns out!

Well here it is. After somehow making it through 26 years of my life without having viewed one, I have now seen my first Steven Seagal film. I feel I should take a little pause here to allow TylerDurden99 to pick his jaw up off the floor! While I've seen Executive Decision, I'd consider that a film that features Seagal rather than a certified 'Steven Seagal film'.

Based on the little bit of Seagal I had previously seen (clips and little snatches of films here and there) my opinion of him was not exactly that positive. And unfortunately my first full viewing of his work did little to change that. I just found him to be a bit irritating and smug. To compare him to the other big action heroes out there; particularly of that time, in my eyes he most certainly doesn't have the acting talent or the likeability of a Stallone or a Bruce Willis. He doesn't have that powerful screen presence of a Schwarzenegger or a Bruce Lee. And he doesn't have the charm of a Jean Claude Van Damme or a Jackie Chan. He just cannot act whatsoever. Everything he says or does just comes across as so wooden. He doesn't even give the character any doubts, fears or concerns in this nightmare situation. He just knows he's going to kill them all. And if he doesn't seem at all concerned about his well-being, why should I be?

And then there's his part in the romance that develops with Erika Eleniak's Playboy playmate, Jordan Tate. Now I know the romances in these types of films are always pretty thin, basically based purely on the fact that the guy saves the girl and she falls for him. However even by the standards of action film romances this one is pretty brutal. It just feels so forced and unconvincing, and seems really tacked on at the end as an afterthought. At no point did Seagal even seem to comprehend Eleniak as a sexual being, never mind that a love was blossoming there. And how was he unable to exactly, especially considering her entrance into his life, emerging from a cake topless.

What saves the film, well perhaps saves is too strong a word. What's definitely the film's strong point comes in the form of its villains. Tommy Lee Jones and Gary Busey provide two great over-the-top performances as the colourful antagonists for Seagal's cook-come-Navy seal. Along with providing some actual talent they provide the entertainment for me. So much so that for much of the film's running time it was actually the bad guys that I was rooting for. Gary Busey is...well Gary Busey! His turncoat Commander Krill character is a repulsive piece of s**t. A real psychopath Busey brings him to life in his own inimitable style. But it's Tommy Lee Jones who is really what makes the film. Without him I can't envisage there really being much to keep my attention whatsoever. His crazed, manic terrorist really is quite a worrying prospect. You're just never sure what he's going to do from one moment to the next, probably because he himself doesn't seem to know. Terrific stuff from him. Oh and as a devout Trekkie I got a kick from seeing Colm Meaney (The Next Generation and Deep Space Nine's Chief Miles O'Brien)

Initially I found the action to be a little bit dull and repetitive, it's just Seagal shooting one goon after another. And the setting didn't make for the most exciting of locations, just one identical room after another almost. It's only later when we start to get some variety that my interest levels rose, so moments like Seagal forcing one of the bad guys back onto a band saw or his pretty cool knife fight with Tommy Lee Jones stuck out as the highlights. While he doesn't bring anything revolutionary to the genre, director Andrew Davis does a solid job at helming the action scenes.

Conclusion - Die Hard on a ship just about scrapes by on its own as a dumb piece of entertainment, with Busey and especially Jones doing that bit extra to lift it to a higher plain of enjoyment. Despite it's faults and my views on Seagal it's not quite enough to make me abandon the Seagal experiment as a one and down proposition. While I won't be rushing to catch another of his flicks I can see me giving him another chance. Sorry it's not quite the 5 star review you were hoping for Tyler.

Plot – Los Angeles, 1951. Three policeman find themselves becoming unlikely allies when they get caught up in a web of corruption that threatens their lives. Straight-laced Edmund Exley (Pearce), brutal Bud White (Crowe) and sleazy bribe merchant Jack Vincennes don't have a hell of a lot in common. Indeed more than once these men clash over their attitudes and their actions when it comes to police work. But when the story behind a multiple killing at a diner gets deeper and more convoluted they discover that it winds all the way to their very own police department. Now, these men must join forces and put their differing methods to good use to uncover the truth.

When it came to Mark there wasn't one particular film he has suggested like the others. He's recommended a few over time, but none that I have access to at the current moment. So I decided just to go with one of his absolute favourites. So I went to his top 100 list and had a quick glance through and this one jumped out at me over a number of others. It was at #47 on the list. Considering Mark has seen over 30,000 films, that in itself is quite an endorsement. And it's a very classy, grown up piece of film-making.

The most intriguing aspect of the film was the ability to compare the three central cops (all well realised, realistic feeling characters) at the heart of the story, and the completely different characters they are and different approaches they take to their work. There's the straight-laced and by the book cop, Edmund Exley. Trying to live up to the legacy of his father he finds that his morality not only struggles to find a place in the department, but is actively encouraged to be forgotten. Initially resembling a snivelling account more than a cop, he eventually rises as a courageous man with a capacity for violence. There's the brutal young cop with an old school mentality, Bud White. As a result of his father's treatment of his mother he despises men who abuse women, and will not hesitate to hand out his own brand of justice. He becomes the right hand man for Captain Smith, a tool of violence and intimidation. And then in a confrontation with Basinger's character he becomes what he despises most. And lastly there's the slimy, corrupt Jack Vincennes. Seduced by the fame of Hollywood Vincennes mixes with celebrities, dresses sharp and is always on the look out for the opportunity to make a little extra cash. They are complete opposites and yet eventually they are all revealed to be 'good cops' to an extent, and eventually form an uneasy alliance when they realise that's the only chance they have of coming away from this with the truth, and indeed their lives.

I found the film was constantly questioning me as to where my sympathies and loyalties lay in terms of the main trio of cops. And whenever I had just about settled on a position the film would move the goalposts on me. Characters I had placed my faith in would do something untoward. And characters I had written off would step up and do something heroic. And then just to complicate things further the film takes the moral line in the sand and moves it. All of a sudden some of the things White or Vincennes had done earlier in the film don't seem so bad compared to the true dark nature that is running through the L.A.P.D. So you assaulted a wife beater? Big Deal! You take bribes to work with a newspaper publisher – who cares?!

Film trivia - The idea of Pierce Patchett's celebrity look-alike prostitute business is actually based upon the long talked of rumour that there really was a whorehouse in Hollywood that specialised in dressing and making up women to resemble the most famous movie stars of the day. In his splendidly titled memoir, “Hollywood: Stars and Starlets, Tycoons and Flesh-Peddlers, Moviemakers and Moneymakers, Frauds and Geniuses, Hopefuls and Has-Beens, Great Lovers and Sex Symbols", screenwriter Garson Davis talks of visiting a place called Mae's where the madam was dressed as Mae West and presided over a group of ladies who replicated stars such as Barbara Stanwyck, Joan Crawford, Carole Lombard, Marlene Dietrich and Ginger Rogers amongst others.

The performances from the all-star cast are astonishing; surely one of the great ensemble efforts in film history. I'll move onto some of the other performances in a moment but there's one I have to talk about first. In a film with so many impressive showings from critically acclaimed actors and actresses, it's going to take something pretty special to stand out. And in Guy Pearce, this film has something pretty special. He is extraordinary in the role of Edmund Exley. He creates a very complex character. Indeed it took me a long while to actually get a read on him. Is he merely a stickler for the rules who believes he's just doing what is right, or does he 'sell out' his fellow officers with the ulterior motive of his own advancement. It's a fantastic performance as Pearce floats between snivelling politician in the making, and heroic defender of justice. For a while I thought it was going to be Spacey stealing the limelight; the fact that he is gifted the most charismatic and charming character certainly helping. His Vincennes is just so slick and smarmy, but with a shade of sadness and self-loathing in there. Crowe is likewise very strong, even if I felt he was a little over-shadowed by his cast mates. His aggressive, macho image and personality are put to good use as the short-tempered White; a character whose anger is constantly simmering just under the surface, capable of exploding at any moment. Also very effective is James Cromwell as Captain Dudley Smith. With his dead eyes and stone cold heart, can this really be the guy that I associate with Babe, a film he made just two years previously.

While there are a lot of great performances as I've just outlined, perhaps the best piece of actual casting is Danny DeVito as Hush-Hush publisher Sid Hudgens. While he seems like a really nice guy anytime I've seen him interviewed, and I am a big fan of his, he undoubtedly has a skeezy, slimy quality about him both in terms of his appearance and his voice. A quality he has put to good use over his career; whether it be as scumbag Louis De Palma in Taxi, his horrible husband in Ruthless People or as The Penguin in Batman Returns, or any other number of similar roles. So placing him in the role of the sleazy, muck-raking Hudgens is just about perfect. And DeVito has such a distinctive, characterful voice that he is a great choice as the film's occasional narrator as he reads aloud the articles he is writing.

It's certainly a film where you have to keep your mind sharp and alert at all time. The film lays out a complex and labyrinth story for us to try and navigate our way through. Helgeland and Hanson's script feeds us a series of seemingly disparate plot strands before eventually tying them together into one sprawling, twisting mystery. In fact there were a few occasions where I found myself wondering why exactly we were being shown something, thinking 'how exactly is this relevant?' And after mentioning about how you really have to stay sharp, I have to admit that I initially missed the relevance of Rolo Tomassi. And what a fool I was because it's a beautiful piece of scripting which so perfectly ties things together.

The film is beautiful to look at, with some marvellous cinematography on show from Dante Spinotti. It creates a vintage 50s sheen to the aesthetic, while obviously taking advantage of modern technology to give the whole things a lovely gloss. Some of the period detail is a delight as well, with the costume design a particular highlight. Together, along with the murkiness of the story itself they help to create a thick and brooding atmosphere.

Film trivia – In addition to making it on to the big screen, L.A. Confidential has twice been pitched to television studios. Producer David L. Wolper initially wanted to produce the project as a mini-series, and then HBO actually had a weekly series in development. A pilot movie starring Kiefer Sutherland was produced, but the series was not picked up.

The film takes a lot of issues and throws them into the big melting plot that is Hollywood. As with just about any film that deals with Hollywood and chooses not to gloss over it's darker side we have the issue of crushed dreams. For every success story there are countless other dreams that crash and burn, leaving the dreamers in a dark place. And in this film that takes on the form of prostitution; celebrity look-alike prostitution to be exact. The film also address a number of issues that have plagued the L.A.P.D. for a great deal of its history – racism, corruption and police brutality. Indeed the Bloody Christmas incident is actually a fictionalised version of something that really happened and went by the same name. In Los Angeles in 1951, a group of drunken police officers brutally assaulted seven men (two white men and seven Latinos) that were suspected of beating up two police officers. The men were left with broken bones and ruptured organs.

Despite it's twisting story and intelligent script this is not merely a cerebral exercise. There's enough action and confrontation to make this a thrilling experience. Throw in a few shocking twists from the script to keep you on your toes and it all makes for an exciting ride. In terms of action there are a few impressive shootouts, none more so than that which comes toward the film's conclusion. Unlikely allies, Exley and White find themselves trapped in a cabin surrounded by a group of men out for their blood. After building the tension the scene explodes in a hail of bullets. And for the next few minutes I'm not sure if I allowed myself a breath. It's a stunning and enthralling piece of action, made all the more so by the fact I had no idea what was going to happen. I was at the point where nothing would have surprised me anymore.

I know this film is compared very often to the 70s noir Chinatown. I have to admit that Chinatown didn't particularly do it for me, though admittedly a large part of that was likely down to Jack Nicholson's involvement. I just found L.A. Confidential to a much more emotional, engaging and captivating experience. It's just a shame that when it came to the Academy Awards the film ran into the juggernaut that was Titanic. As a result the film brought home just two awards from nine nominations – Best Actress in a Supporting Role for Basinger, and Best Adapted Screenplay. I think it's a sin that Titanic took home the Best Picture trophy over this.

Conclusion – Impeccably acted. Terrifically scripted. And handsomely lensed by Hanson. This is a great piece of film-making, and certainly deserving of its reputation as one of the finest films the 90s had to offer. Also deserving of its reputation as a film that you really should see.

The previous 99 reviews have covered a 76 year span, from 1936's Mr Deeds Goes to Town to 2012's Looper which was just released a couple of months ago. And each decade in between has been featured at least once.

Well, here's a first one. A movie enthusiast that took 26 years to see a Steven Seagal film
Do me a favor and see Out For Justice ( my favorite Seagal film ) and write a review. I think you may find it interesting.

Excellent work, JD. Your reviews really are becoming great examples of the art.

Loved the idea of the five reviews. I even read the John Carter one.

Lastly, if you like Drew as a redhead, may I suggest Home Fries.

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5-time MoFo Award winner.

Now that's some reviewing. RoboCop obviously my favourite out of them all

Some good choices too matey, especially Under Siege, top movie. Can't say as I liked Charlie's Angles myself but may have to have another look now, just to see

Top stuff mate...

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Yea, I'm so glad you reviewed (and liked) L.A. Confidential. I've seen it countless times and never get tired of it. If you're a reader check out some of James Ellroy's books as well. I'ts an experience.

Wow, for one time only you fulfill people's review requests for a special occasion and the next thing you know people are all over you requesting more!!! Will keep an eye out for it

Thanks mate. One thing I forgot to say; in addition to being disappointed that Titanic beat out Confidential for Best Picture, I can't believe that not a single one of the male stars was even nominated. Perhaps they cancelled each other out, they weren't sure who to nominate or in what category.

Thanks. I do try.

I'm not going to argue Charlie's Angels is a great film (I'll leave that to nutters like HK ), but I did find it to be tremendously fun. You just need to go in with the right mindset; it was never going to be an awards magnet, or get any glowing reviews from critics looking to be respected but it's enjoyable stuff. Though like HK I do have the Drew bias. But it's got Drew, it's got Bill Murray (though I like them for very different reasons! ), it's got great OTT action, it's got laughs, it's got sexy ladies and a knowing sense of how ridiculous it all is. What's not to like?

Aww shucks, you're so nice. Wait a minute......you're just saying that because of the Charlie's Angels defence aren't you? But seriously thanks for the high praise mate. Very much appreciated. It's your praise that keeps me going, indeed you could say that you are the wind beneath my wings.

Thanks. It was quite an undertaking and I wasn't sure whether to go with it or not when the idea came to me a week or two back. And you read the John Carter one? How nice!

Yes. Yes you may indeed suggest it. I'm not too sure about the curls but she's still pretty adorable. Is the film any good, or is Drew the only reason to watch?

Wow, congrats! Great reviews, man. Regrettably (or not) I've only seen one from your big 5-review post - L.A. Confidential. It's not a favorite, but I like it a lot. Kevin Spacey was, as he usually is, the best thing about it. I should re-watch it soon, actually.

The 5 stars don't matter, I am still floored that I got my own special JD review! I'm really honored by this, so much that it doesn't matter you can't comprehend the obvious greatness Under Siege possesses . Just kidding. Still, at least you enjoyed it and recognized the greatest assets of the film, Busey & Jones (though the knife fight at the end was pretty sweet [who am I kidding? The whole movie was sweet]). Also happy you enjoyed L.A. Confidential, which is also an all-time favourite of mine.

Screw it, I like Charlie's Angels as well. Feels good to get it out

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"George, this is a little too much for me. Escaped convicts, fugitive sex... I've got a cockfight to focus on."

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Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
Buddha

Fairly spot on reviews /scores for the last batch. Robocop and L.A. Confidential are personal favs of mine.

Maybe Confidential is even a 5 star film.

Thanks Skepsy-baby!

You mean you've never seen RoboCop?!!! Every young boy should see that at an inappropriate age and be traumatised by the brutality of Murphy's slaying!

And yeah L.A. Confidential isn't an automatic absolute favourite of mine, but I do think it's a tremendous film. It's the kind of film that while I admire I need a couple of watches at least to see if I really love it.

Thank you kind wizard. And yeah in terms of quality and technical merit I could not argue whatsoever about Confidential getting 5 stars. It's very deserving of it. It's just that I continue to try and balance my ratings between how good the film is, and how much I like/love it; usually leaning more towards how much I liked it.

Well thank you TD! And I'm pleased you're so honoured. To be fair to Under Siege I will be revisiting it at some point after another few Seagal flicks. Perhaps by then, after a little more exposure, I'll have established a fondness for Stevie-boy and be able to enjoy it even more.

Wow look at this Honeykid, you've started a bit of a movement. First Gabrielle, then me and now Tyler here. Charlie's Angels is on its way to becoming this forum's most loved flick.




You're very welcome my sweet. It just dawned on me that while I went with 5 films for my 100th, technically it was the film dedicated to you that got the honour of being the 100th film. I had originally been going to post them all in a single post, but it looked very cluttered and awkward.

It is a little confusing. For example I still don't really understand the Therns and how they were established or what they are. I basically just though "oh, they use magic" and went with it!

Are your nephews equally enamoured with it? On the DVD cover there's a quote stating it's "Star Wars for a new generation." While I wouldn't go quite that far, I can see young people who grow up with it having a real place in their heart for it.

And I've never actually seen Flash Gordon. Though I did recently pick it up cheap on DVD.

I it very but a huge guilty pleasure Just ask 7thson he is also a big fan

I think what impressed me most about L.A. Confidential was the dialogue. The golden noirs of old had crisp, often acidic dialogue. The best examples that spring to mind immediately are The Sweet Smell of Success (which has possibly the greatest dialogue in history) and Out of the Past. I wouldn't say L.A. Confidential's dialogue is as good, but it's certainly much better than average.

So pleased that my special 5 movie review for the 100th has proved such a big hit. Seems to have gone down very well, though I feel I may be about to ruin some of the goodwill that has built up! After the great effort that went into the reviews for the 100th I was in the mood for some daft, mindless fun film wise. So I decided to go with a Jean Claude Van Damme season! Not sure how many I'll bother giving a full review to, but just thought I should put out a warning - serious film aficionados may want to give my thread a miss for the next little while.


Oh well I do love me a bit of cheese!!! And I love that smilie!

Can't believe that in the big massive rambling I forgot to mention the dialogue. Though to be fair I was rather exhausted by the time I got to the 5th review. Usually I would have gone back over it, tidied it up a little but just wanted to get them posted by that point.