Jack's Reviews

Planes, Trains and Automobiles (1987)



Director: John Hughes
Cast overview: Steve Martin, John Candy
Running time: 93 minutes

John Hughes' 1987 film sees Steve Martin as Neal Page, a fussy marketing executive who is trying to get home to Chicago from New York City in time for Thanksgiving. As per any comedy, the trip is far from smooth. Upon meeting shower-ring salesman Del Griffith at the airport - who had originally taken his cab accidentally - we soon find that the pair will have an interesting journey to say the least. Diversions and cancellations force them onto planes, trains and automobiles - see what I did there? - and the film becomes one of the best comedies ever, in my view.

John Hughes is known for his comedy films, such as Ferris Bueller's Day Off, The Breakfast Club, and Uncle Buck, and this includes a script that is perhaps his best. The film is first and foremost a comedy, but also features very real and very effective drama. The motel scene is touching and heart-warming (I won't go into too much detail in case there are some that haven't seen it) and the ending had me in tears - proving how engrossed I had become and how likeable the characters were (even Neal Page becomes likeable after the start). It also shows Hughes' immense talent for writing real and believable situations interspersed with fantastic comedy.

I also think John Candy deserves praise for his wonderful performance. Sadly taken from us at too young an age, I feel he's an extremely underrated comedy actor - he played his roles so well and you can't imagine anyone else portraying Del Griffith with as much passion and drama. Martin and Candy also had a great on-screen chemistry.

The material here is just right, the acting is terrific, and it's just a great feel-good film (even if there are sad moments) that has a moral at its heart: treat others how you want to be treated. At least, that's how I see it. I can't recommend it highly enough, and it's one of my favourite films.



Quotes
Del: You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah, you're right, I talk too much. I also listen too much. I could be a cold-hearted cynic like you... but I don't like to hurt people's feelings. Well, you think what you want about me; I'm not changing. I like... I like me. My wife likes me. My customers like me. 'Cause I'm the real article. What you see is what you get.

Neal: You know everything is not an anecdote. You have to discriminate. You choose things that are funny or mildly amusing or interesting. You're a miracle! Your stories have NONE of that. They're not even amusing ACCIDENTALLY! "Honey, I'd like you to meet Del Griffith, he's got some amusing anecodotes for you. Oh and here's a gun so you can blow your brains out. You'll thank me for it." I could tolerate any insurance seminar. For days I could sit there and listen to them go on and on with a big smile on my face. They'd say, "How can you stand it?" I'd say, "'Cause I've been with Del Griffith. I can take ANYTHING." You know what they'd say? They'd say, "I know what you mean. The shower curtain ring guy. Woah." It's like going on a date with a Chatty Cathy doll. I expect you have a little string on your chest, you know, that I pull out and have to snap back. Except I wouldn't pull it out and snap it back - you would. Agh! Agh! Agh! Agh! And by the way, you know, when you're telling these little stories? Here's a good idea - have a POINT. It makes it SO much more interesting for the listener!

Car Rental Agent: [cheerfully] Welcome to Marathon, may I help you?
Neal: Yes.
Car Rental Agent: How may I help you?
Neal: You can start by wiping that ****ing dumb-ass smile off your rosey, ****ing, cheeks! And you can give me a ****ing automobile: a ****ing Datsun, a ****ing Toyota, a ****ing Mustang, a ****ing Buick! Four ****ing wheels and a seat!
Car Rental Agent: I really don't care for the way you're speaking to me.
Neal: And I really don't care for the way your company left me in the middle of ****ing nowhere with ****ing keys to a ****ing car that isn't ****ing there. And I really didn't care to ****ing walk, down a ****ing highway, and across a ****ing runway to get back here to have you smile in my ****ing face. I want a ****ing car RIGHT ****ING NOW!
Car Rental Agent: May I see your rental agreement?
Neal: I threw it away.
Car Rental Agent: Oh boy.
Neal: Oh boy, what?
Car Rental Agent: You're ****ed!

Trivia
Steve Martin's favorite film of his own.

The Marathon Car Rental scene is exactly one minute long from the time Steve Martin starts his tirade, to the time the attendant ends the scene. In that 60 seconds, the word "****ing" is used 18 times.

John Hughes shot over 600,000 feet ((180,000 meters) of film, almost twice the industry average. The rumored three-hour version of the film does indeed exist, although not in order - moreover it's a mess of footage that would take "months, maybe even years" according to Hughes to transform into an actual film. It is locked away in a Paramount vault, and according to Hughes, most of it has probably deteriorated by now.

Trailer

Arlington Road (1999)



Director: Mark Pellington
Cast overview: Jeff Bridges, Tim Robbins
Running time: 117 minutes

This looked an intriguing film after reading the brief synopsis provided on IMDb. I decided to give it a watch. Jeff Bridges and Tim Robbins are both well-known and respected actors, as is Joan Cusack, so I thought it'd be decent.

The film itself starts slowly, and for the first thirty minutes I was confused and slightly bored, although I chose to persist and see if it improved. I'm pleased to say it did. I was engrossed after the mediocre first half-hour had passed and I watched with interest. The acting is very good, and I can't say that there were any bad performances.

The writing and directorship is also pretty good, though they certainly didn't go lightly on the coincidences and the far-fetched ideas, and I found myself thinking at times that the writing felt a tad sloppy - refining some of the undoubtedly good ideas could have worked wonders. It's a film that requires you to suspend disbelief temporarily.

I saw many reviews praising the great ending and, while it was good, I certainly don't think it was the best ending ever as some seemed to suggest. Yes, it wrapped the film up nicely, but I was left feeling a bit underwhelmed at having expected something marvellous and then for an ending to occur that's perhaps ten-a-penny in disaster films and the like.

Essentially, this is a good thriller that could have been a great thriller had there been some more refined writing and a more engaging and gripping opening start. As it is, I found myself slightly bored for the first half of the film and this drags the overall mark down for me. Still, this is a good film and I would recommend it, even if it's far from perfect.



Quotes
Oliver Lang: Never wiser than when we're children. They say it and it's true. We'll never see things that clear again.

Oliver Lang: [Talking about Grant] If you want to be his father, you will walk to your house, sleep in your bed, teach your classes, and live your life!
Michael Faraday: What are you doing? How many people are you going to kill?
Oliver Lang: Well, if I see any strange cars on my street, if you feel compelled to talk to someone, a federal agent perhaps, I imagine we're just going to kill one.

Oliver Lang: [Talking about Grant] He's a good kid. A strong kid. Reminds me of a boy I grew up with. Maybe you've heard of him. Oliver Lang? I found him in the woods one day. I would hate for Grant to see the same thing.
Michael Faraday: You sick ****!
Oliver Lang: You're the sick ****!

Trivia
The script for "Arlington Road", written by Ehren Kruger, was discovered when it won the Nicholl Fellowship Screenwriting competition from the Academy of Motion Picture Arts and Sciences. This film is only the sixth winner of the competition to actually be produced.

The car crash during the climactic chase scene was unplanned; the plan was for the car to duck behind the oncoming bus and complete the left turn. When the collision occurred, the car trunk sprung open, revealing the bright blue sandbags that had been placed there to allow certain stunts. The quick cuts following the collision are necessary to avoid showing the sandbags. Subsequent shots including the car had already been filmed, and show a markedly less-damaged car.

Michael Faraday, Jeff Bridges' character, was also the name of a real-life chemist and physicist who did pioneering work in the field of electromagnetism. Michael Faraday is also the name of a street in Reston, Virginia, in which the film takes place.

Trailer

Ten reviews done so far.

Are people enjoying reading them? Is anyone bothering to read them?

I'd appreciate tips to improve the reviews as well.

Thanks.

Looks good buddy. Not short and sweet exactly but not too long that the review can get boring to read. Feels just right.


Liked your Misery review and mention of Bates as Annie Wilkes. Wilkes made it into my Top Villains list I made a few years back. Great role.

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Cheers! Yeah, I didn't want to make the reviews too long as I find with some - on sites such as IMDb (which I do think is superb) - they're longer than necessary. I find it's better just to give people an idea of the film and to write without going into too much detail.

I'll have to check out your Top Villains list. Completely agree with your putting Wilkes on there. she's one sick individual.

I'm reading and enjoying. I am with rodent the length is just right. I like the quotes at the end. Keep them coming.

__________________
Letterboxd

Cheers.

Falling Down (1993)



Director: Joel Schumacher
Cast overview: Michael Douglas, Robert Duvall
Running time: 113 minutes

My dad recommended this to me as a good film, and I had a look on IMDb and saw that it had good reviews so I gave it a watch. I'm glad I did. This is the story of Edward 'D-Fens' Foster, an unemployed defence worker who gets out of his car one day and walks home, dealing with the problems he perceives and encounters along the way. This style of film-making makes for some interesting encounters, to say the least, and I think it's one of the more intriguing film ideas of the last twenty years or so.

I know Joel Schumacher has a bit of a dodgy reputation for his Batman effort, though this is the first film of his that I've seen so I can't comment on that.

Michael Douglas is terrific as Foster, someone driven to the edge by society and the damaging and destructive ideas they see within. Some of the set-pieces feel very prosaic - the fast-food scene is something I'm sure we've all thought (perhaps without the gunfire) - but I feel it's all quite powerful, and really serves to underline how one man can become overcome by frustration at the way society has turned out.

Robert Duvall plays his part equally well as the LAPD cop on his last day, although we actually feel sympathy for Douglas' character. Foster is an everyman, someone we all have within us, although many keep it hidden until we snap. This film is the story of one man who snaps and ends up taking his anger out on society's flaws.

The plot is, as mentioned, simple - Douglas' character is the film, essentially, and we follow him through a single day in LA. I think this can often make for a refreshing change in film rather than the usual rehashed and uninteresting plots.

I truly recommend this film, and it's already taken its place as one of my favourites.



Quotes
Bill Foster: I would've gotcha.

Bill Foster: I'm the Bad Guy?
Sergeant Prendergast: Yeah.
Bill Foster: How'd that happen? I did everything they told me to. Did you know I build missiles? I helped to protect America. You should be rewarded for that. But instead they give it to the plastic surgeons, you know they lied to me.
Sergeant Prendergast: Is that what this is about? You're angry because you got lied to? Is that why my chicken dinner is drying out in the oven? Hey, they lie to everyone. They lie to the fish. But that doesn't give you any special right to do what you did today. The only that makes you special is that little girl. Now let's go. Lets go!

Mr. Lee: Take the money.
Bill Foster: You think I'm a thief? Oh, you see, I'm not the thief. I'm not the one charging 85 cents for a *stinking* soda! You're the thief. I'm just standing up for my rights as a consumer.

Trivia
Michael Douglas considers this his favorite performance of all the movies he has been.

Iron Maiden's song entitled "Man on the Edge" is based on this movie.

Filmed during the L.A. riots of 1992.

Trailer

Mean Streets (1973)



Director: Martin Scorsese
Cast overview: Robert De Niro, Harvey Keitel
Running time: 112 minutes

Martin Scorsese has a big reputation in film-making, though I haven't seen enough of his movies to make a judgement on whether it's deserved. However, I found Mean Streets a bit underwhelming. The main bugbear for me was the lack of a discernible plot. I was slightly confused at what was supposed to be happening, though perhaps that was the idea Scorsese had in mind - a sense of aimlessness pervading throughout.

The acting is great, and De Niro and Keitel are another of those iconic film partnerships that work so well together. The sense of Italian-American life is obviously prevalent, and Keitel is an interesting enough character, even if I think he could have been established better. That's one of the things that I find frustrating here - there's undoubtedly a good film somewhere in here, but I don't think there's enough here to raise it above something average. I appreciate some people's opinions on it may differ.

It was enjoyable, but I don't think it's up to the standard of some of Scorsese's better films, perhaps, and this could have been far better than what it was.



Quotes
Martin Scorsese: You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is ******** and you know it.

[They all raise their glasses to The Queen]
Charlie: You know what the Queen said? If I had balls, I'd be King.

Johnny Boy: Y'know Joey Clams...
Charlie: Yeah.
Johnny Boy: ...Joey Scallops, yeah.
Charlie: I know him too, yeah.
Johnny Boy: ...yeah. No. No, Joey Scallops is Joey Clams.
Charlie: Right.
Johnny Boy: Right.
Charlie: ...they're the same person!
Johnny Boy: Yeah!
Charlie: 'ey!
Johnny Boy: 'ey...

Trivia
Marks the first film collaboration between director Martin Scorsese and star Robert De Niro.

When raising money for the film, Martin Scorsese was offered a healthy sum by his mentor Roger Corman on the condition that he shoot the movie with an all-black cast. Scorsese had to turn Corman down.

The very last shot of the movie is of Martin Scorsese's mother, Catherine Scorsese, closing a window.

Trailer

The Godfather (1972)



Director: Francis Ford Coppola
Cast overview: Marlon Brando, Al Pacino
Running time: 175 minutes

This is an iconic film. It's perhaps the most iconic film in history - both for the sheer impact it had on film-making (not limited to its two sequels), and the amount of memorable scenes and lines within. The film opens in a dark room, and that symbolises the film as a whole: this is a dark film, yet there is also a sense of innocent beauty that I feel comes from Nino Rota's wonderfully crafted score. Perhaps it's the 1940s setting that seemed innocent. However, innocence is something far from this film.

One thing I have to comment on is the acting. It's flawless, absolutely flawless. You truly believe you're amid the plot, witnessing the characters interacting and the events unfolding, and it's incredibly powerful here with such a good novel to rely on as the film's inspiration. Brando is perfect as the head of the family, but I think Pacino is as good as Michael Corleone, the Don's youngest son who has returned from fighting in World War Two. I also think John Cazale is very underrated as Fredo, the weakest of the Corleone brothers and the one who struggles to follow in his father's footsteps. As with everything he was in, Cazale is subtle and can use facial expressions as well as speech in projecting his character's emotions. All the acting is so believable and serious that it'd be a travesty to give that particular aspect lower than a perfect score.

The cinematography and direction equally cannot be faulted, and the whole film is engrossing from start to finish. I say I've never watched it before, and I haven't, although my dad had it on in the past and, although my attention was elsewhere, I found what I saw boring. I couldn't have been more misguided. This is a film that is far from boring, with some of the best writing and directorship I've seen. It's not my favourite movie, but it's certainly one of the best and most accomplished I've watched, and Ford Coppola's talent for directing films in the crime genre is most apparent here.



Quotes
Michael: My father is no different than any powerful man, any man with power, like a president or senator.
Kay Adams: Do you know how naive you sound, Michael? Presidents and senators don't have men killed.
Michael: Oh. Who's being naive, Kay?

Michael: [speaking to Carlo] Only don't tell me you're innocent. Because it insults my intelligence and makes me very angry.

[Tessio brings in Luca Brasi's bulletproof vest, delivered with a fish inside]
Sonny: What the hell is this?
Clemenza: It's a Sicilian message. It means Luca Brasi sleeps with the fishes.

Trivia
Marlon Brando wanted to make Don Corleone "look "like a bulldog," so he stuffed his cheeks with cotton wool for the audition. For actual filming, he wore a mouthpiece made by a dentist; this appliance is on display in the American Museum of the Moving Image in Queens, New York.

In 1974, The Godfather (1972) premiered on NBC over 2 nights - Saturday November 16th, and Monday November 18th, from 9-11pm. Both nights, at 11pm, New York City's Municipal Water Authorities had some overflow problems from all the toilets flushing around the same time.

At the meeting in the restaurant, Sollozzo speaks to Michael in Sicilian so rapid subtitles could not be used. He begins with: "I am sorry. What happened to your father was business. I have much respect for your father. But your father, his thinking is old-fashioned. You must understand why I had to do that. Now let's work through where we go from here." When Michael returns from the bathroom, he continues in Sicilian with: "Everything all right? I respect myself, understand, and cannot allow another man to hold me back. What happened was unavoidable. I had the unspoken support of the other Family dons. If your father were in better health, without his eldest son running things, no disrespect intended, we wouldn't have this nonsense. We will stop fighting until your father is well and can resume bargaining. No vengeance will be taken. We will have peace. But your Family should interfere no longer."

Trailer

Despite the 9/10 I still repped you. Just thought you should know I disapprove.

I felt like a real villain for not giving it a perfect score, when I've given arguably worse films 10s. I'll have to be honest, my enjoyment of this was probably slightly less, which is the only reason. It's a fantastic film, though, and I can fully understand why some'd consider it to be the best ever.

Sisters (1973)



Director: Brian De Palma
Cast overview: Margot Kidder, Jennifer Salt
Running time: 93 minutes

This is a very atmospheric horror debut from director Brian De Palma. Released in 1973 and set in New York City, it's a great early film of De Palma's. One thing I picked up from this was the Hitchcockian influence. Firstly, there are elements of Rear Window (the neighbour) and Psycho (the murder itself) in this, as well as the fact that Hitchcock collaborator Bernard Herrmann composed some chilling music for it, and this music appears and disappears suddenly, increasing the sense of atmosphere that the film creates.

The acting is decent enough, with Margot Kidder playing the model and her deranged twin. Jennifer Salt is also decent enough as the nosey neighbour-turned-detective. There are no Oscar-winning performances here, but everything is interesting enough in terms of the acting - you certainly won't be turning away in disgust at any hamminess (I hope). Charles Durning also makes an appearance as a private investigator - he was a great supporting actor.

The plot is something that's been covered many times before and since, and this is ground that's well-trodden, but that's not to say it's too simplistic or cliched. Often, I find the simplest plots make for the best films - something clumsy and confusing is unlikely to attract too many fans, and a plot you can keep up with seems to often be a rare thing in Hollywood.

In conclusion, this is a very good film that's up there with De Palma's best thrillers. It loses its way a bit towards the end which drags it down slightly. You can forgive some of the hammier moments considering this was a low-budget early effort, and - especially considering this - it's a very worthy entry to his back catalogue. Certainly an effective and efficient horror/thriller.



Quotes
Crazy Woman: Did you know that the germs can come through the wires? I never call and I *never* answer. It's a good way to get sick. Very, very sick... That's how I got so sick! SOMEONE CALLED ME ON THE TELEPHONE!

Grace Collier: I saw a murder, and I'm going to prove it!

Trivia
Margot Kidder and Jennifer Salt were roommates in Southern California in the early 1970s while they were struggling performers. They held parties for their friends and neighbors who included Paul Schrader, Blythe Danner, Bruce Paltrow and Brian De Palma. One year at Christmas, Kidder and Salt opened separate boxes under their Christmas tree and each one contained the script to this film. This project was De Palma's gift to them.

Brian De Palma was inspired to make the film after he read an article about a set of Soviet Union Siamese twins who were successfully separated after an operation. De Palma said he was haunted by a photograph of the twins in which one looked cheerful and healthy, while the other looked surly and disturbed. The article went on to include issues about the twins' psychological problems after their separation.

The "Peeping Tom Show" segment that the film opens with was inspired by the Candid Camera television series.

Trailer

Halloween (1978)



Director: John Carpenter
Cast overview: Donald Pleasence, Jamie Lee Curtis
Running time: 91 minutes

A horror classic, as far as I'm concerned. Here John Carpenter provides a horror blueprint for what Hitchcock brought to the fore eighteen years earlier. This wasn't the first horror film, or even the first slasher film, but I'm convinced it's one of the best. Carpenter provides atmosphere and suspense that has been lacking in many films since, with gore being preferred by directors and audiences.

You'll be aware of the story, for it has been imitated and copied ever since: psychotic killer on the loose intent on murdering. The psychotic killer in this case is Michael Myers, confined to a mental institution for the past fifteen years. It's a much-tried formula in the horror genre, but I don't think it's ever been used as well as it is here. Not only is there an easy-to-follow and entertaining plot, but there is also a wonderful feeling of suspense and atmosphere, superbly crafted by the scarcity with which our masked killer is seen in the early stages. It's a feeling of knowing something is going to happen, but you don't know when. Carpenter crafts this as well as anybody.

Donald Pleasence is fantastic as Sam Loomis, evoking a sense of desperation that no one believes him about Myers' evil - you can really sympathise with his character. Jamie Lee Curtis is also decent - she plays an ordinary babysitter so an Oscar-winning performance was hardly necessary, but her fear was tangible.

Overall, this is one of the best horror films ever, in my view, with an iconic character in Michael Myers, a beautifully simple yet engrossing plot, marvellous suspense and a haunting score. Horror perfection.



Quotes
Dr. Sam Loomis: I met him, fifteen years ago; I was told there was nothing left; no reason, no conscience, no understanding; and even the most rudimentary sense of life or death, of good or evil, right or wrong. I met this six-year-old child, with this blank, pale, emotionless face, and the blackest eyes... the devil's eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply... evil.

[last lines]
Laurie: It was the boogeyman...
Dr. Sam Loomis: As a matter of fact, it was.

Sheriff Leigh Brackett: It's Halloween, everyone's entitled to one good scare.

Trivia
Due to its shoestring budget, the prop department had to use the cheapest $2 mask that they could find in the costume store: a Star Trek (1966) William Shatner mask. They later spray-painted the face white, teased out the hair, and reshaped the eye holes. Shatner admitted that for years he had no idea his likeness was used for this film. It was only during an interview that someone mentioned his mask was being used. He has since stated that he is honored by this gesture.

P.J. Soles went to a screening of the movie after it was released, sitting in the 4th row of a regular audience. She was very amused, when during her nude scene and line of "see anything you like?" a male audience member in front yelled out "hell yes I do!" unaware she was right behind him.

Carpenter considered the hiring of Jamie Lee Curtis as the ultimate tribute to Alfred Hitchcock who had given her mother, Janet Leigh, legendary status in Psycho (1960).

Trailer

Airplane is a great movie and you did a wonderful review on it Jack.

It is indeed a great movie. Cheers for the comment.

Halloween was my favorite movie when I was 12.

Does that mean you've gone off it?

Shutter Island (2010)



Director: Martin Scorsese
Cast overview: Leonardo DiCaprio, Emily Mortimer
Running time: 138 minutes

This is a fairly powerful and psychological film, and that is noticeable from the very first scene on the boat. The sense of foreboding that emanates throughout the whole film is present there, and we are instantly thrown into the story of a murderess patient who has disappeared from the mental institution on Shutter Island, with US marshal Teddy Daniels there to investigate. Dennis Lehane's 2003 novel of the same name served as the backbone of the film, although I haven't read the book so am unsure as to how much it differs from Kalogridis' screenplay.

The film itself starts fantastically - as well as any film I've seen - and it's completely gripping for the first thirty minutes. Then the plot becomes increasingly convoluted and downright confusing, and the flashback scenes only add to the mental tumult. By the end, I wasn't sure whether DiCaprio's character truly was crazy, or was dreaming, or what. The suspense and intrigue introduced early on had been gradually sapped away through the far weaker second hour. Despite this, I continued on and I wouldn't really say I felt "bored" at any time - simply confused about the sloppy writing that I think aimed to give the sense of a psychological thriller but feels unsure itself about which direction it wants to go in.

I can't fault the acting, really, and DiCaprio seems to have matured a lot from the days of Titanic, proving himself as adept enough here, while being nothing special, and Mark Ruffalo is a solid and understated actor, I feel. Kingsley and Von Sydow are two more proven and familiar faces that provide the well-acted roles of two villains.

I did enjoy this, which is why I'm a bit conflicted as to what mark to give it, but the writing to me just felt haphazard at times, and the marvellous start's energy and pace soon dissipated into a more convoluted tale with too many twists to understand fully what was going on. This obviously drags it down somewhat for me. If the plot had made more sense, this would have been an eight or a nine.



Quotes
Teddy Daniels: So, what's our next move?
Chuck Aule: You tell me.
Teddy Daniels: I gotta get off this rock, Chuck. Get back to the mainland. Whatever the hell's going on here, it's bad.
[pause]
Teddy Daniels: [sotto voce] Don't worry, partner, they're not gonna catch us.
Chuck Aule: That's right, we're too smart for 'em.
Teddy Daniels: Yeah, we are, aren't we?
[pause]
Teddy Daniels: You know, this place makes me wonder.
Chuck Aule: Yeah, what's that, boss?
Teddy Daniels: Which would be worse - to live as a monster? Or to die as a good man?

[last lines]
Teddy Daniels: You know, this place makes me wonder.
Chuck Aule: Yeah, what's that, boss?
Teddy Daniels: Which would be worse - to live as a monster, or to die as a good man?
[gets up and walks off]
Chuck Aule: Teddy?

Teddy Daniels: I'm sorry, Honey. I love this thing because you gave it to me. But the truth is... it is one ****in' ugly tie.

Trivia
The traumatic killing of Nazi guards of Dachau concentration camp is a historical event, taking place on 29 April 1945 when the camp was liberated by the US Army.

Before settling on Mark Ruffalo for the role of Chuck Aule, Leonardo DiCaprio and Martin Scorsese also considered Robert Downey Jr. and Josh Brolin.

As of 2013, this is the last Martin Scorsese film to be shot entirely on actual film.

Trailer

Deliverance (1972)



Director: John Boorman
Cast overview: Jon Voight, Burt Reynolds
Running time: 110 minutes

John Boorman's 1972 film about four friends - Ed, Lewis, Bobby, Drew - who go on a canoe trip down the Cahulawassee River before it's dammed and turned into a huge lake has become something of a cult seventies classic. In all honesty, it's not hard to see why. This is a film that gets under your skin and sticks with you emotionally. It's disturbing, powerful, brutal and harrowing, and - although it's not a horror film - it provides many horrific and frightening moments that provide lessons in suspense and fear. It also happens to be intense - this is fast-paced and it's clear that this works to its advantage. The most famous scene is perhaps that of the duelling banjos, but virtually all of this film sticks with you, even if not all of it works as well as it could.

One thing that does work very well is the backwoods Georgia setting. I'm a strong believer that a film can be made on its setting, and this is a very good example. The fast-flowing river and dense woodland both serve to create a sense of isolation that wouldn't exist as powerfully without such stunning scenery. I was reminded of The Texas Chain Saw Massacre in both the odd locals but also in the scenery and landscape that is a character in itself, and this character is a violent one.

The plot is believable (perhaps adding to the film's overall impact), and the acting is second-to-none, with all four of the main cast acting as well as they've ever done, particularly Burt Reynolds and Ned Beatty. What I do like is the versatility and variety within the four main friends, as well: one is typically macho, another an overweight insurance salesman, another a meek everyman, and there is also the humanitarian family man and guitarist. These believable characters make it all the more disturbing, and as a result we empathise with and understand them. The crazy locals also add to this film's brutal qualities.

There's no doubt that this is a very good film and, while I don't think it's quite as good as some reviewers have suggested in naming it one of the best films of the seventies, it still holds up as a brutal and shocking picture, over forty years after it was first released. Recommended.



Quotes
Lewis: Sometimes you have to lose yourself 'fore you can find anything.

Mountain Man: What do you want to do now?
Toothless Man: [grinning] He got a real pretty mouth ain't he?
Mountain Man: That's the truth
Toothless Man: [to Ed] You gonna do some prayin' for me, boy. And you better pray good.

Ed: Look, what is it that you require of us?
Mountain Man: What we, uh, "re-quire" is that you get your god-damn asses up in them woods.

Trivia
Burt Reynolds broke his coccyx while going down the rapids when the canoe capsizes. Originally, a cloth dummy was used, but it looked too much "like a dummy going over a waterfall". After Reynolds was injured and recuperating, he asked, "How did it look?" The director replied, "Like a dummy going over a waterfall."

Billy Redden, the boy with the banjo liked Ronny Cox, and disliked Ned Beatty. When at the end of the dueling banjos scene, the script called for Billy to harden his expression towards Drew Ballinger, Cox's character, he was unable to fake dislike for Cox. To solve the problem, they got Beatty to step towards Billy at the close of the shot. As Beatty approached, Billy hardened his expression and looked away - exactly as intended.

To minimize costs, the production wasn't insured - and the actors did their own stunts. (For instance, Jon Voight actually climbed the cliff.)

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