Movie Tab II

Yeah, I have and I like it muchly. I was refering to stuff he's made since 3-Iron...

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http://www.last.fm/user/diezelpower/

Le bossu (1997)



Pretty entertaining little swashbuckler based on the novel, Le bossu , by Paul Feval... which kinda surprised me when I looked it up because it reminded me so much of something Dumas might have written... anyway, even though the story was fairly predictable, it's still a lot of fun with some very off color, so to speak, jokes in the mix... and I thought Daniel Auteuil and Vincent Perez were both great in it... the only problem I really had with it was the ending which I thought was a little silly and, to me, less than believable...

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that's what i'd like to know! it was so warm and happy. made me feel all rainbows and puppy dogs. i'm sad to think anyone thought it was pretentious.

what a pretentious explanation!

hm, not a bad idea! i don't know that we always agree, but i'd like to hear your thoughts. let me know if you do!

Zing!

Personally, I can't stand the use of that word when criticizing a film, it seems so...pretentious.

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"Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."

Who doesn't love movies? I do.

The Messenger (Oren Moverman -2009)

Wasn't sure if I was going to like this, turns out that it was so good I didn't really need to worry about that. A very good story and some excellent acting. I think I may be getting close to some serious guesstimating for some Oscar nominations.

The Hurt Locker (Kathryn Bigelow - 2008)

Man this is good flick and it held up even better than I thought it would the second time around. I sure hope Renner gets a nod come Oscar time. Hell maybe he even gets the win. Who knows?

Antichrist (Lars von Trier - 2009)

IMDB in their break down of this film says, and I quote: "A grieving couple retreats to their cabin in the woods, hoping to repair their broken hearts and troubled marriage. But nature takes its course and things go from bad to worse."

Yeah, well, that's certainly a very basic way of looking at the film that really tells you absolutely nothing about how freakishly bizarre this film is. And yet, I was pretty engrossed in the film so I think I liked it. I'm not always sure how to put movies like this into words. I noticed Holden included it in his top 100 for the decade and even he didn't really know what to make of it so maybe there's hope for me yet, eh?

The Road (John Hillcoat - 2009)

I wanted to like this more, I did. It was just so, I don't know. Boring, I guess. And the kid... the kid was an awfully big pain in the ass for a kid that has grown up in a "Post Apocalyptic World", don't you think? I mean, c'mon he's lived his entire life in this terrible place and his Father still has to coddle him and get him his food and basically do everything for him. It was done in an interesting way however. We are given very little in the way of what happened to the world and so on, we just pretty much have to follow along with these two until they reach their end such as it is.

I don't know, perhaps I'll enjoy this more after a re-watch but this is not in the same league as Children of Men or even Doomsday for that matter... in my ever so humble opinion.

Chandni Chowk to China (Nikhil Advani - 2009)

Even better the second time around, this film is a joy to behold. Who ever came up with the idea to combine all the delightful Bollywood music and dancing with a Kung-Fu movie should probably be given some kind of award. Seriously. Shaolin Soccer, Kung-Fu Hustle and now Chandni Chowk to China are on my very short list of highly enjoyable and highly fun Kung-Fu movies. Sure, there's a ton of Kung-Fu movies but the vast majority of them aren't anything like these three films. Goodtimes.

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We are both the source of the problem and the solution, yet we do not see ourselves in this light...

More capsule comments in an attempt to catch up with my movie watching.

Fast Times at Ridgemont High (Amy Heckerling, 1982) - Since this film is now almost 30 years old, I guess it's time to acknowledge it as a classic teen/sex comedy. It's not that it's actually hilarious per se, but it's got a collection of mostly-believable characters, and many of them do and say hilarious things. On the other hand, the film is something of a painful coming-of-age for the Stacy character (Jennifer Jason Leigh), something which seems to be overlooked in-between the duels between Spicoli (Sean Penn) and Mr. Hand (Ray Walston) and Brad's (Judge Reinhold's) "desire" for Linda (Phoebe Cates) by the swimming pool.

36 Hours (George Seaton, 1965) - WWII thriller with an awesome plot. Less than a week before D-Day, the Nazis kidnap an American major (James Garner) and try to convince him that he's been in amnesia for six years and that the war is over. The major has information on the Allied invasion and the Nazis want to get it from him before it occurs so they drug and artificially age him and set him up at a hospital with a wife (Eva Marie Saint), so that when he "comes to" 36 hours before D-Day, a German psychiatrist (Rod Taylor) can finagle the secret info out of the Major. This ingenious set-up plays out well for the first two-thirds, but it stumbles a bit later when it becomes a chase picture, although John Banner from "Hogan's Heroes" is fun.

Seven Days in May (John Frankenheimer, 1964) - Frankenheimer follows up his masterpiece The Manchurian Candidate with another political thriller, scripted by Rod Serling, about a potential military coup of the United States. The Adjutant Colonel (Kirk Douglas) of the Chairman of the Joint Chiefs of Staff (Burt Lancaster) accidentally learns that there's a good possibility that his Boss is planning to overthrow the President (Fredric March) due to the fact that the President has signed a nuclear disarmament treaty with the Soviets at a time when his approval rating is at an all-time low. Meanwhile, the General is very popular and has apparently approved of some secret base where suspicious operations seem to be taking place. The President and the Colonel try to get hard evidence that several strange "coincidences" may well be a planned military takeover. It's a thinking man's thriller in that there aren't really any action scenes, but the acting and story are so strong that it flies by and holds one's interest throughout.

The Man Who Would Be King (John Huston, 1975) - Huston directs a grand Rudyard Kipling adventure (in fact, Kipling is an important character and he's played by Christopher Plummer) which soon enough turns into a cautionary fable a la his The Treasure of the Sierra Madre. Two ex-soldiers (Sean Connery and Michael Caine) of the British Army in India decide to leave the country before they're jailed for their various crimes and travel to Kafiristan where they plan to become kings. Action, spectacle, and comedy are intermixed in a story filmed on incredible locations and leading up to several surprising revelations concerning another man who once may well have been King of the World 2200 years earlier. Caine and Connery are a terrific team in roles which were originally intended for Humphrey Bogart and Clark Gable.

The Charge of the Light Brigade (Michael Curtiz, 1936) - This one is based on Tennyson's poem and shows more Indian adventure with Errol Flynn. Most of the film takes place in India and tells of a Major (Flynn) who's friends with the local tribal leader Serat Khan (C. Henry Gordon) until one day, while most of the British soldiers are away, Khan decides to have his men attack the British fort and massacre a skeleton crew of soldiers, along with their women and children. In this historically-inaccurate film, it eventually leads to the battle of Balaclava. This is solid entertainment although the first half is staged somewhat awkwardly with some surprisingly slapdash editing and pacing. However, the second half of the film crams in enough action for two movies and definitely makes it one of Flynn's best.

Crimes and Misdemeanors (Woody Allen, 1989) - One of Woody's best follows two stories, one about Judah (Martin Landau), an opthamologist whose mistress Dolores (Anjelica Huston) threatens to reveal herself to his wife, and the other about Cliff (Allen), a documentary filmmaker working on a project about a TV producer (Alan Alda) he loathes, although he's starting to fall for the exec's associate professor (Mia Farrow). The film is both hilarious and thought-provokng as it shows how the main characters have to try to deal with their lives while living in a world which seems to have laws and moral systems, but is justice ever really possible here on Earth? I won't reveal anymore except to say that Jerry Orbach is almost as good as Landau, playing his brother with strong mob ties, and I'll also add that you need to remember that "comedy is tragedy plus time".

Inside Moves (Richard Donner, 1980) - This San Francisco-set film tells the story of a group of lovable losers who frequent a bar but are trying to make some big dreams come true, if they only knew what those dreams could be. Eventually, a young newcomer to the bar, Roary (John Savage), a failed suicide, decides that getting an operation for the bartender Jerry (David Morse) to fix his leg and foot may well let Jerry become a pro basketball player. If it sounds like a silly melodrama, rest assured that it's melodramatic but it's also quite funny and has a cross section of offbeat characters to cheer for and against. Sure, this is something akin to a modern-day Capra flick, but it's got its fair share of whores, druggies and other flawed characters who are living their life out any way they can.

Roadgames (Richard Franklin, 1981) + - Wonderful Hitchcockian suspense thriller with a sharp sense of humor and a smart lead character in Quid (Stacy Keach), the American truck-driving "non-truck driver" in the Australian outback with a vivid imagination, a pet dingo and eventually a load of pork he has to get to Perth during a meat worker's strike. It just happens that there's apparently a serial killer who's on the same route as Quid, so he seems to be a suspect, and eventually a hitchhiker (Jamie Lee Curtis) he picks up disappears too. The dialogue which Quid speaks on his lonely journey is humorous, and there are some Rube Goldbergish stunts on hand, but what makes the whole thing so enjoyable is the smartness of the Hitchcock tie-ins.

RoboCop (Paul Verhoeven, 1987) - Futuristic sci-fi satire is a slam-bang action thriller as well as a cautionary tale on crossing the line at playing God. Peter Weller is solid as Murphy, a cop in the most dangerous place on Earth, Old Detroit, and he's matched by his partner Nancy Allen. One day, Kurtwood Smith, playing one of the scariest bad guys ever, puts a hole in Murphy's brain, basically killing him, but the folks at Omni Consumer Products have determined to bring him back "on-line" as a cyborg named RoboCop who can be a tougher kind of police officer. Verhoeven goes all-out with his patented violence, and the corporate backstabbing is rampant, especially between OCP execs Ronny Cox and Miguel Ferrer. RoboCop still qualifies as sci-fi, but there may well come a time when it seems more like science and less like fiction.

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

I've been avoiding that one because it looks like a film that would ruin my sleep for a week, but I do love Dafoe and Gainsbourg ....

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Sweet. Luuurvs Manchurian. This is going right on the list. (Are there any 10th Dimensional dialogue oddities with ladies on trains? )

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Virtual Reality chatter on a movie site? Got endless amounts of it here. Reviews over here

Crank (Mark Neveldine & Brian Taylor, 2006) -

Like Versus, Crank attempts to be nothing more than pure unadulterated fun. It also inspires some weirdly mixed feelings in me - there is stuff I absolutely love about it yet there's plenty of stuff I can't stand either. Weird mix, but I guess I like it slightly more than I dislike it.



Detroit Rock City (Adam Rifkin, 1999) -

This is a pretty middle-of-the-road teen comedy revolving a handful of teenaged KISS fans making their way to a KISS concert and having all sorts of wacky adventures on the way. It's a mostly dull affair which has just about everything wrong with it - bad acting, mediocre writing, a very lame sense of humour even by juvenile teen movie standards - yet it still remains somewhat watchable, and at least the soundtrack is half-decent. But yeah, overall a very easy film to miss unless you're a diehard KISS fan or looking for something very uncomplicated.



First Blood (Ted Kotcheff, 1982) -

So this is what Rambo was like before the sequels apparently turned into a more simplistic action movie. Regardless, I didn't really think so much of it. There's some half-decent acting and the film actually had an alright (if somewhat simplistic) message to it but the action in general did come across as uninteresting and the movie almost became a chore to sit through.



Starship Troopers (Paul Verhoeven, 1997) -

Verhoeven can certainly make a hell of a B-movie, and Starship Troopers is certainly a testament to that fact. It's not perfect by a long shot, but it's about what you'd expect from the man who gave the world RoboCop as he litters this film with all the goods - gratuitous violence and nudity wrapped around a delightfully satirical science-fiction piece.



Wonder Boys (Curtis Hanson, 2000) -

Pretty much the exact opposite of the last film. Wonder Boys is another one of those movies that I just like. It wasn't quite as much of a comedy as I'd been led to believe by recent posts, but that hardly mattered as the film was a delightfully well-played character piece that takes a couple of well-worn story arcs and, with the help of some great casting and solid writing, makes for a film that is just all over entertaining and manages to generate some genuine sentimentality. It's just good.



The Prestige (Christopher Nolan, 2006) -

Sometimes I'll just watch a film where I'll just watch it and think to myself "This is just good." Kind of hard to go into much detail - it more or less did everything right, although there were a few missteps here and there with regard to acting - but it works on the basis of an ingenious plot, albeit one that came with so many twists I eventually managed to start predicting the twists, which kind of ruined the film's attempts at being just as surprising as the illusions it bases itself around. Or was it in keeping with the whole illusion theme where an audience can sort of see how a trick's going to turn out? I'm not sure - fairly interesting either way.



Irréversible (Gaspar Noé, 2002) -

Tough to know how to really rate a film like Irréversible. Does it justify praise for attempting something so radically different, even when it's just to provide a strongly discomforting experience that could easily be termed shock cinema with little artistic merit? Such is the nature of the film (or at least the first half of it) with its freewheeling camerawork, intentionally disorienting sound techniques and set-pieces that are perverted at best and downright brutal at worst. There's more than enough justification to dislike the film, yet I have to give it at least some credit for at least trying something different and managing to tie itself together a bit towards the end. So not great or essential, but it's certainly an unusual experience alright.



Anchorman: The Legend of Ron Burgundy (Adam McKay, 2004) -

First time I've watched this film from start to finish in years (second time all up). I'd probably never call myself a fan of this movie although I won't deny it's got its funny moments here and there, plus the characters are consistently amusing (even though there are several moments that just seem jammed in for random funniness and kind of ruin the pacing of a scene - Steve Carell's retarded weatherman is usually the culprit in this case). Still, it's probably one of the better (if not the best) Will Ferrell movies out there, even though I know that's not much of a statement to make.



Inglourious Basterds (Quentin Tarantino, 2009) -

This was starting to get a little tired after a third viewing; this marks my fourth. There's not really anything new to say about the film. It's still kind of slow in parts, the acting is divided into the good and the bad (and the bad's divided into hilarious and cringe-inducing), but it's still rather well-made. Unfortunately, if the past couple of times I saw this are any indication, it's really not holding up to repeat viewings. I think I may just end up knocking this out of my Top 10 of 2009 before too long.

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Iro's Top 100 Movies v3.0

a little bit! i was only joshing around, though; to each his own. however, i think the joshing part failed to register with Used Future; he -1'ed me! maybe he didn't like the +2 i got for it......

Ahh, what the hell. You deserve it.

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"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."

Suspect's Reviews

I bit my tongue the first time I saw this "review" of Planet of the Apes. Now, apparently these 2009 flicks are just better, but I have never come across a single person who believes that Apes deteriorates as it moves along. So, Planet of the Apes is "half-baked"? Rod Serling is apparently a crumbum screenwriter? I don't even want to get into the ending because it's not a movie's fault when the "surprise" ending is put on the DVD box for all to see. How does something "wear off quickly, yet keep you hooked until the end", meaty? Did you see the remake? If so, you must give it or less.

I liked it a lot, especially the ending, but that's maybe because I'm an old fart and it was a kind of wish fulfillment. Did you notice how Auteuil never aged during the entire flick? I really believe it's an old man's fantasy come to life, and I, for one, can live with that.

If some of these seem a bit rushed, it's probably because this is the second time I've typed this stuff. Give me a break already. I hurt!

Five Graves to Cairo (Billy Wilder, 1943) - Wilder's second directorial effort has a bravura performance from Erich von Stroheim as Field Marshall Erwin Rommel. The opening scene inside a moving tank is excellent considering that everyone inside seems to be dead. Anne Baxter is very good (and sexy) as the housekeeper and Franchot Tone undoubtedly delivers his best performance as the British double agent who's stuck in the Sahara Desert until Rommel provides him a safe way out.

Goodfellas (Martin Scorsese, 1989) - Scorsese basically shows off in every single scene, and for once, he has a screenplay worthy of it. However, I'm not all that gung-ho about the male leads' (Ray Liotta, Robert De Niro, Joe Pesci) acting in this flick although I believe that Paul Sorvino does his finest cinematic work and that Lorraine Bracco (and Marty's Mom!) outact everybody else. It covers most oif the major mob activity in NYC from the '50s through the '80s, but don't expect to find anybody to root for or care about. Even so, it's a brilliant film.

Doctor Dolittle (Richard Fleischer, 1967) - I'll be the first to admit that a flick starring Rex Harrison and the lovely but underseen Samantha Eggar should be given a chance, but while watching this, I almost threw up listening to the dulcet tones of Anthony Newley. There are some decent F/X and an enormous production, but it just doesn't cut it overall.

Man Hunt (Fritz Lang, 1941) - This American flick is closest to Lang's German expressionism which was apparent in his earlier Metropolis and M. This flick is crammed with shadows and deep contrasts, especially at the beginning where the hunter (Walter Pidgeon) has his crosshairs on Hitler, but the remainder of the flick strains and becomes almost silly when it seems that London has more Nazis than good British soldiers. Even so, George Sanders is incredibly witty as the Nazi adversary and Joan Bennett is far-sexier than most anyone could believe.

Term of Trial (Peter Glenville, 1962) - This is one of those underdeveloped stories where the cast (Laurence Olivier, Simone Signoret, a teenaged Sarah Miles) is great, but the story isn't fleshed out, and when it is, it turns out to be a contradiction. There is definitely something sexual going on between the teenager and her teacher (Olivier), but the youngster seems in charge and therefore things proceed extremely-awkwardly. When it ends up in court, things become even "stranger".

Five Easy Pieces (Bob Rafelson, 1970) - Nicholson takes his George Hanson character from Easy Rider and finely-delineates him into one of the scummiest, uncaring characters of all time. Of course, Nicholson is provided with awesome fodder for his performance: there's the "chicken salad sandwich scene", along with the sex scene with Sally Struthers, the beating and cussing in the car, the bowling alley scene, the "pompous celibate" scene, the beautiful coda to the oilfield scene where Billy Green Bush gets arrested, the scene where Nicholson cries in front of his father who's suffering from a stroke and cannot react, and the incredible finale involving the truck driving north. Karen Black probably gives her greatest performance, and Helena Kallianotes is hilarious in all her scenes about cleanliness.

Roustabout (John Rich, 1964) - Elvis shines at the beginning as a smartass singer who gets the goats of the college boys at his club. Later on, he hooks up with Barbara Stanwyck to help her run a circus. It's not really all that much, but it's better than about half of Elvis's later movies because it's actually about something real.

Capricorn One (Peter Hyams, 1978) - This is my fave Hyams flick, and this one is about a faked mission to Mars. Eventually, the astronauts are supposed to be "dead" when their capsule burns up on reentry (without them in it). That makes James Brolin, Sam Waterston and O.J. Simpson all expendable, so the three try to escape from the desert while a newspaper reporter (Elliott Gould) tries to piece the story together. Things get really exciting and hilarous when pilot Telly Savalas shows up to help the "Good Guys" but keeps bitchin' about people's heads getting in his way.

Tapeheads (Bill Fishman, 1988) - This is one of those comedies which is both incredibly-silly, yet semi-ingenious at the same time. None of it is believable, but in the context of the flick, it works just the way we want it to work. The entire plot is ridiculous but in some alternate universe, it's actually quite satisfying in the way it plays out. John Cusack and Tim Robbins make a good team. It was a bomb at the box office because otherwise, I would have expected a sequel.

ONLY 11! MOVIES LEFT!!

Awww poor old Morrie. I laugh every time De Niro strangles him with the telephone and his wig comes off.



Love Capricorn One by the way. Shame about the abrupt slow-mo ending though; I wanted more.

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100 Favourites From The Future: REWIRED

Bad writing on my part. The concept didn't really keep my interest, but the characters did. I haven't seen the Tim Burton one.

I doubt I've seen anything else written by him, but these lines are pretty funny.

You know the saying, "Human see, human do."

It's a mad house! A mad house!

Take your stinking paws off me, you damned dirty ape!

I thought this was the best part of Goodfellas, how it humanizes the three. Tommy is a murderer, but then he's a regular nice guy when he's hanging out with Henry and Jimmy, and you can tell the relationship with his mother is strong. Jimmy is probably the least trustworthy and devious of the three, but he's always a good guy with Henry and Tommy, and then you have the family dynamic that grows between the gangsters (the scene with the vacation, hospital pictures). Another example : Henry's children refer to Pauly as "Uncle Pauly". Henry, is the main character and it gives you his story from childhood - I really sympathized with his character because of his very personal narration of the story. As far as all the gangsters in the film are portrayed, Henry's the straightest. His faults are all of excess, he cheats on his wife, he becomes a drug addict, he spends way too much money - and he combats all of these problems throughout the film.

Not much of a 'family' though.
For me "Goodfellas" shows up exactly just how UN-family like these guys are.
They'll kill anyone if it comes to it. And betray anyone if it suits them.

Don't work for them...as they shall kill you all off after.
Don't go against 'this thing of ours' as your 'uncle' will tell your 'brother' to kill you...and he'll do it.

It's perhaps the most (in the final conclusion of what actually happens to everyone...from murder to betrayal) unflattering picture of The Mob out.

A Woman is a Woman, (1961, Godard)- 76/100

The Royal Tenenbaums (2001, Anderson)- 85/100

The Silence of the Lambs (1991, Demme)- 77/100

Aguirre: The Wrath of God (1972, Herzog)- 86/100

Shadow of a Doubt (1943, Hitchcock)- 88/100

All the President's Men (1976, Pakula)- 94/100

Anatomy of a Murder (1959, Preminger)- 87/100

Apocalypse Now (1979, Coppola)- 97/100

No Country for Old Men (2007, Coens)- 86/100

Being John Malkovich (1999, Jonze)- 83/100


Additional Notes:

A Woman is a Woman is my first Godard film, and I know it isn't considered one of his greatest films but I liked it. The unique use of a soundtrack and the interesting love triangle type relationship is cute, but not as cute as Anna Karina in this film.

The Royal Tenenbuams is definitely one of the funniest of the decade but is also the ultimate movie to watch of the idea of a very dysfunctional family. With a wide range of characters, Tenenbaums showcases all types of character traits and personalities. Not to mention it's beautiful cinematography and offbeat humor. Though for me, Gene Hackman makes this film.

I have to say that The Silence of the Lambs is quite overrated. I have seen many films within this genre and I think it really fails to the best of them, but that is not to say it isn't good. Actually, I liked it. It must be hard to put a film about real life serial killers on the screen because it can be very disturbing and sickening--and it was. It was effective in depicting it at least it is how I sort of imagined. I kept thinking the movie would go a different way, and at the end of the day it is more simplistic than told. Anthony Hopkins is great in this, by the way.

Is this the ultimate adventure film? I think Aguirre: The Wrath of God is a great pure adventure movie that certainly is one of my favorites. But that's what makes it ahead of other adventure movies, it isn't just "group sets out, look for this, charcter does this, finds this, celebrates, etc.", it is much more complicated than that. It is a film about human vs. nature, human vs. human, human vs. mind and has multiple themes of mental toughness and desire. And Klaus Kinski is a scary dude, perfect for the role, though.

For anyone that doesn't know this about me, I'm a sucker for everything Hitchcock. I love almost everything he has directed and Shadow of the Doubt only increases my admiration for Hitchcock. Joseph Cotten is aweome in this film and the theme of the movie is directly in the title...doubt. It isn't as clever and twisty as a lot of other Hitchcock stuff, but it doesn't need to be.

I loved All the President's Men and the fact that this was about the real Watergate events made this somehow more real. Dustin Hoffman and Robert Redford give great performances and I love how more is revealed as the movie goes along. I doubt a film about journalism is better than this because of the many observations and little details beheld by Pakula. Great, great movie.

I haven't seen very many courtroom dramas but I really liked Anatomy of a Murder . Another movie with great acting (but of course with Jimmy Stewart) and the tension and realness of it all that was grasped.

Considered to be one of the greatest of all-time, I still wasn't sure what to expect in Apocalypse Now and I wasn't expecting to like it as much as a lot of people I know considering I'm not a huge war movie fan, but obviously I loved it. Martin Sheen's narration throughout the movie makes it personal and the effects of war and insanity is a great mix. Another powerful soundtrack from a Coppola film intensifies the action as well as the haunting tones beneath. And then of course, Marlon Brando. Not my favorite Coppola but I liked it better than the Godfather films.

"You are not my friend-o". No Country for Old Men is probably my second favorite movie from the Coens now (behind Fargo) and this was quite the murderer we had on our hands, Anton Chigurh. His performance is one of the best I've seen in more recent film memory, partnered with a lethal weapon. I know the ending is controversial and I am on the positive side of the fence. Not all endings need to have sprinkles or be tied up perfectly, films are for your mind to explore, question, and predict. So overall very enjoyable with some very memorable scenes (especially the first encounter).

While watching it, I wasn't sure what to make of Spike Jonze's Being John Malkovich, but after viewing it I realized how unique and original the movie was. Full of questions throughout, it is somewhat of a puzzle but you probably won't figure out any of the pieces until the credits roll. Solid film, but I prefer Kaufman's script five years later, I say this because they are often compared. Malkvoich, Malkovich. Malkovich. Molkovich.