Reviews

I took a chance on this because of Sue Lyon and the references to Stanley Kubrick. And yes, it's there in good fun. Apparently the original script was more focused on the nurse character, and less of the gang. But when A Clockwork Orange was released, De La Iglesia saw a way to tie it in, and no doubt try to capitalize on it. However the gang is just 'goofy'. Like the boy scouts trying to be the Hell's Angels. But the member David (Chris Mitchum) is interesting, as he solely witnesses Ana's (Sue Lyon) disposing of a body and proceeds to craftily blackmail her. The men she chooses to lure and dispose of is interesting as well, but not really fully explained. And the exterior environment and its 'futuristic' look is barely noticeable. Yet, Ana as a respected and dedicated nurse by day, and luring and unremorseful serial killer by night is a good story in itself. And the blackmailing, and how to remedy that is intriguing as well. But the ending is without any resolve or reason. Other than violence and murder cannot be readily detected or cured. So in taking away Kubrick's influence, lack of budget, and loose threads all around - the integral story isn't half bad. And there are some good haunting shots that show integrity and vision above a cheaply thrown together 'knock off' as it was panned. Not the greatest movie, but worth a watch and to have knowledge of.

Don't know why I'm attracted to apocalyptic/Armageddon nuclear movies, but has forever been a fascination for me. On The Beach, Dr. Strangelove, Fail Safe, A Boy And His Dog, Threads, When The Wind Blows - and countless more I've seen. Yet Testament somehow slipped under my radar until recently (thank you Imprint!) And have to say it's a DARN good movie! A bit slow at first as the viewer gets acquainted with a suburban family of 6, going about their daily routines of breakfast, exercise, ready for school, etc. And this goes on for a few days. Nothing dramatic are hidden secrets, just a family concerned about school plays, birthdays, work. The father leaves for business, and the mother goes about tending to her kids. All of a sudden the TV goes funny, and a newscast breaks in saying nuclear weapons are striking America, and numerous cities have already been hit - this is NOT a drill! And all of a sudden there's a blinding flash in the house, and the mother and children shield themselves. After the flash subsides, they and the rest of the neighbourhood emerges confused as to what happened? An elderly gentlemen in the area with a HAM radio confirms that many US cities cannot be reached anymore. Including San Francisco - where the father went for business. The mother and children hope he returns safely, but as days progress without any power, radio reports, or outside intervention - the neighbourhood begins to realize the grave situation of it all. And that radiation fallout will eventually get to them soon too. And from there, it's a very dramatic and subtle spiral of a pleasant neighbourhood eroding as food and essentials become less, and people start getting sick. And it' the coping with, and diligence of dealing with the dying and dead that is so heartbreaking in this movie. Again, nothing overwrought or dramatic - just certain people and children aren't there anymore. Burial plots start appearing around houses instead of the cemetery. Belongings and personal items start littering the streets. So very subtle and quietly discussed - but I think very realistic in a way as well. It makes the viewer 'part of the neighbourhood', just as confused and unknowing as everyone else - and what will happen next? And unlike most other movies, where the military or Red Cross or Bruce Willis comes in to save the day by the end, or a big dramatic finale to it all. This movie just ends with a handful of people and offspring carrying on as best they can. And make of that what you will. So despite the slowness, and then suddenness of the attack, and the isolated confusion and slow realization of death after - it would seem like a bad movie then. But on the other hand, I think it's more harrowing for its simplicity, good naturedness, and decreasing optimism and perseverance that will really hit viewers. Definitely a HAUNTING movie when it comes to the end!

I had seen bits of this movie in my youth of the 70's. And there's a memorable and disgusting scene near the end where businessmen go to serious depths to get any piece of 'free money'. Other than that, I nor my friends ever found the need to watch the movie fully. We all knew the outrageous bits of it, and like a Monty Python skit - that was good enough. But watching it fully now recently on DVD, it's really a lame and cruel movie. Peter Sellers especially is hardly amusing, and more like a sadist that barely enjoys his tortures. Ringo Starr is mildly cute as the adopted son that goes along with all the schemes and pranks. But most of the events are so psychedelic and spontaneous, ones not sure if and how they ever could've been orchestrated. And the purpose of it all is to get a jab at the British 'upper crust' for being so traditional, egotistical, stringent, and just 'stuck up'. But again, no one takes any true joy in it. The perpetrators barely acknowledge it was their doing, or just happened to be in the right place at the right time. And be one rich or poor, as P. T. Barnum so eloquently said - 'there's a sucker born every minute'. And basically that's what I felt like after watching this movie in its entirety - just one big sucker.

Definitely a fan of Quentin's ever since I saw Rubber. But I don't know French, and my eyes are getting old and hard to see subtitles now. And that's the BIGGEST problem with this movie, is that the majority takes place in this very bright police office. Much of the white subtitles are washed out by light, white paper on desks, white shirts. VERY hard for me to keep up with and understand whatever was going on. If there were slightly yellow or greyed subtitles, or placed on the ratio bars with a slight change to aspect ratio - or dare I say a 'English dub' version, I think this movie would be a lot better enjoyed and appreciated. As it stands now for us anglophones, it's more a mysterious mystery than a twisted comedy.

Like others here, when I was told about this movie - it sounded too weird to even fathom spending a minute on. But all said it was SO good. Finally I broke down and got a cheap DVD of it. And I've been eating my hat ever since! As offbeat and 'out there' as it is, it brings to light possibilities well beyond our dreams. And/or, even if our dreams are our actual lives - can there be contentment in insanity? Elvis trading his life for that of a spot on impersonator so he could be a little more free and with the people may not be too far fetched. And that it was the impersonator who died in 1977 at Graceland, leaving the 'real' Elvis to be Sebastian Haff as an aging impersonator in east Texas. After breaking his hip in a roadside performance one night, Elvis becomes involuntarily interred at an old age home. Keeping to himself, and not getting too friendly with the other clientele - who range from a kleptomaniac old woman, a man who thinks he's the Lone Ranger, his dying war hero room mate, to a black man who believes he's JFK kept alive after the Dallas shooting to keep the truth hidden. (Ossie Davis) But as strange bugs, and a ghostly figure start appearing at the home, and tenants seem to be dying in quicker succession, Elvis teams up with JFK to research the clues and tackle the situation as best they can. Not sure if it was inspirational, but reminded me a lot of Samuel Fuller's 'Shock Corridor' in the first part. Some humorous moments and lines that I was still uncomfortable to laugh at. As the characters all take their roles seriously, as crazy or not as they maybe. Yet its such a fun movie when the suspense and horror elements come in, its kinda a 'free pass' to loosen up a bit. As for the 'horror' aspect - yes, there's a scary figure and bugs that appear. But nothing too traumatic or gross to scare audiences away. But enough to make one grip their arm rest. All in all, its an inventive story well shot on a meagre budget, and is not disrespectful to Elvis, JFK, or seniors or health care workers at all. Its horror aspect is also well woven in and balances out the story nicely. Whether one believes he's 'really' Elvis, or JFK could be changed into a black man and sequestered in Texas - the point quickly becomes moot. As these are just people wanting to do whats right, and feel they have some dignity at the end of the day. A definite MUST SEE!

With the look of Charlize as Aileen Woronos, and a title like Monster - one would expect pure loathing for this woman by movies end. But is truly amazing the pain and loss one feels WITH her when it comes to the end. She could've been anyone in anyone's neighbourhood. But there's always that teenage girl that rebels from serving fast food, and opts to serve fast flings. And for whatever reason, that became Aileen's skill in life. And she was good at it, survived it, accepted it. Until an encounter with a lesbian changed her whole outlook. Men were to become an expendable evil that would fund the albeit short future of Aileen and Selby. Much in the vein of In Cold Blood and Badlands, where ones shocked at seeing the harrowing crimes and deaths. But at the same time understanding them, and wishing there could've been an alternative. As tough and street smart as Aileen was, she could've been a very different and successful woman had circumstances not forced her into such limitations early in life. A great character study, and performance by Charlize along with Christina Ricci that really pull at the emotions, regardless ones views on sex, murder and/or capital punishment.

Though lengthy, and a little sappy in places; it is darn close to being a perfect American movie. Dare I say above Citizen Kane! The politics in this are more relevant today than they ever were. And how Kubrick coordinated and filmed the literal thousands of extras that toiled, journeyed, and fought is simply astounding still. Hard to believe humanity could ever be so crass and barbaric while wearing gold and silk. But has all that much changed over the centuries really? The only difference between a slave and a soldier is the uniform and respect. And even then it all boils down to who wins or loses at the end of the day. Simply a remarkable effort that has to be seen as a rite of passage before ones death.

What is it about all the incarnations of Batman we love so much? I'm not up on the comic books and deep lore that die hard fans know like an encyclopedia now. But I know pretty well any Batman movie will be entertaining and fun to watch. This one however I think was TOO immersive...? Well acted, well filmed, good script - but it felt like it was being crammed down my throat? Maybe for the die hard fan, this had all the depth and definition to what makes Batman. And had there not been so many iterations beforehand, I'd probably give this one a 10 then. But I found it really hard to not be reminded of Burton's versions, or Nolan's versions, spin offs, or even the TV versions when I watched this. It seems like it tried to take something from all the previous versions and pack it all in a nice big box. Sans the fun and humour the previous ones had. VERY dark, VERY serious, and VERY drawn out. I don't mind a 'Double Decadent Chocolate Cake'. But to be offered a 'Triple Decadent' one at twice the size right after....? I feel like I should say no, but.... I'm sure this Batman can be tasty for some, but I'm way too full still.

Being such a fan of Downey's Putney Swope, and believing there's a subconscious subtext that Downey may not even realize. I think the same can be said here for Hugo Pool. A hodgepodge of nutty characters in affluent L. A. that has cute Alyssa Milano as Hugo to watch over them in a motherly fashion. I think whats interesting is that Hugo is really a 'New Yorker' at heart. She's committed, disciplined, and fearless. And looks at her customers and parents as almost pitiful novelties she has to contend with. Amid all the grandiose houses, gardens and pools, it's the people that are most colourful. And as cute and colourful as Hugo seems in it all - she's straight up B&W in comparison. The only problems I had were with the Sean Penn character, as a nameless stowaway with nice blue shoes that accompanies Hugo's father in a truck assigned to fetch water. At best, he's almost an angelic figure that the father confides in, and gets a 'pair of wings' (the shoes) out of it all. The other was with the. Franz character played by Robert Downey Jr. As great an actor I think he is, he hammed it up WAY too much in this IMHO. Totally psychotic and deranged, but sympathetic.to the ALS ridden Floyd character. As maybe to point out insanity is as much a crippling and eroding disease as ALS is? But now the relation that develops between Hugo and Floyd I found really touching. I was skeptical when I saw the trailer, thinking it was going to be the most uncomfortable comedic part. But it was actually the most human and romantic thing I've seen in a long time! Very sensitive and serious. And as with Putney Swope, I think Hugo Pool is a movie that has to be watched a few times to fully appreciate. As the characters just are so bizarre on first viewing, they're hard to understand and/or keep up with. But they do have some funny lines and/or words of wisdom that are carefully woven in. And what I like about these 2 Downey movies is that they are timeless. Yes, Putney Swope maybe B&W and 'old NY' looking. But it doesn't make a point of being exactly that. Hugo Pool looks bright colourful and modern - but feels like a 40's romp that could work just as well in B&W and with The Marx Brothers and Jane Mansfield. Inventive and memorable movie that I'd like to rate higher. But with Bob being so humble about it still - I don't know if I should?

To say Robert Downey is an unusual film maker would still be a gross understatement. Weird, controversial, experimental, and hilarious explains him mildly at best. But this is really such a deep classic, and I don't think fully realized how much of his subconscious had gone into it. Originating the idea while working on actual experimental advertising in the late 60's, Downey was working alongside with a black partner who was getting paid less than Downey. Bob addressed this to his boss, and was told to the effect 'if I give him a raise, I'll have to give everyone a raise. And then he'll still be making less than you...' And this set Downey's gears in motion. In his humbleness, Downey doesn't think too much of Putney Swope. Other than it seemed to make for good satire, and got away with some risque adult humour. But I think in reality, Downey's subconscious had conceived and carried out the movie in true humanistic fashion. Starting with a low echelon black employee at a high end Madison Ave. Ad agency, who inadvertently becomes 'chairman' after all the white members thought they were wasting their vote by putting his name in with hopes they would be more favoured. Immediately Putney takes radical control of the agency, bringing in a black contingency that almost looks like a Black Panther operation. Putney makes wild promises and campaigns as if he's going to 'stick it to the man' so to speak. But also realizes he can make millions for himself quickly and easily by 'giving into the man' so to speak. The movie is surreal in B&W, cutting to colour for some of the ad previews, which are just as surreal. But I think it's the dialog, characters, and pacing that really makes this movie stick. Yes, it's 'blacksploitation' - for better or for worse. But it also brings in the simple human paradox of creativity, truth, and success - no matter what colour, religion, age or sex one maybe. Not to make Bob turn over in his grave, but I'd say Putney Swope is a modern anthropological study of the human virtue and complications thereof. As crazy as it all may seem, try looking at it as if one were watching Putney's dream while sleeping at the board meeting. And the other board members who were asleep got their dreams tangled up in Putney's. Right or wrong, genius or stupid, everyone's working. Just working at what, and what for IS the question. Have worked in advertising myself for a few years (and hating it!), this movie to me was WAAAAAY ahead of its time, and is just as relevant today as ever. A very trippy, humorous, and poignant look at what to sell and buy in the material and political world to be 'one up' on everyone else.

Very depressing and tragic movie. But is definitely a modernized version of Rebel Without A Cause - in the darkest way possible. Dennis Hopper plays the alcoholic so well, it's hard to tell if he's acting or really drunk (or both?) But Linda Manz as CeBe steals the show, in hopes to regain the youthful fun she had with her father before he went to prison 5 years prior. But in her maturity, she realizes how dysfunctional and depraved her surroundings have become. Siding with 'punk rock and Elvis' as a way to rebel and have someone to look up to during her fathers absence. But on his release, he immediately goes back to his drunken ways and making empty promises to Cebe that things will get better. And it's her painful realization that things never will. A fairly good depiction of the Vancouver area and era of the late 70's. Yet the movie has some drawn out scenes which run a bit too long. Soundtrack wise is fitting and not. Neil Young's anthem tune fits it like a loose glove. Disembodied snippets and recitations of Elvis songs seems to throw it off course. And brief exposures of true punk bands like The Pointed Sticks juxtaposed with C&W acts in local bars can almost cause whiplash. Yet, that was the realism back in the day. So possible a more focused and/or coordinated soundtrack may have made the movie more dramatic - but lose the realism...? All in all, it's not an easy watch. But is honest and realistic well before Gasper Noe or Bong Joon Ho. Should something as depressing and depraved as Out Of The Blue exist? I think so, as it's an experience that no doubt exists somewhere to this day for someone - and it's NOT pretty!

I had great hopes for this movie before its release, as it deals with subjects we'll be facing shortly - if not already. Artificial Intelligence and cloning. And the movie is clever in how the supposed US research is being conducted in Puerto Rico on dead soldiers But then the movie gets mired in 'pressure and budget threats'. And the spectacle of 3D graphic controls and complex gadgets. The families death scene comes as no surprise. And company buddy is right there to assist him and keep quiet about it all. It gets interesting when the company really starts putting the pressure on to complete the project, and the scientist secretly uses himself as the test subject. And the obligatory 'bad guy' ending with chase scenes and suspense and all. The movie does brush by some deep ethical and moral questions and dilemmas, and despite the flashy CGI, has a relatively realistic laboratory set up. Most of the acting is pretty wooden and typical, but Thomas Middleditch as trusted assistant Ed I thought did the best job. Despite the predictability, eye candy, and fast pace of it all - it does still leave one with haunting questions of how far now can our science take us, and for what purpose would it best be used for?

I had heard about this movie for a long time, but never had much interest in it. Then the remake with Nicolas Cage, with the excerpts and criticisms made me glad I didn't waste my time with it. But seeing a review of Imprint's (Australia) latest in depth box set release of this original really intrigued me to get it. And glad to have it and finally see it! Starting off slow and somewhat quirky, as a police officer arrives at this remote island village over the disappearance of a child that the locals have no recollection of. The mother runs a sweet shop, and has a daughter there safe and sound still. So was this a hoax by someone in the village? As the officer checks out the town, he notices the populace has strange quirks, and odd leads that make the missing girl to be factual - but of no concern for the officer. As the officer gets to the bottom of this missing girl he learns the the villagers are indeed hiding secrets about her. But are content her disappearance and subsequent death was all for a good cause within their religion. Mortified, the officer plans to head back to mainland and launch a full investigation - but lo and behold, his plane no longer works! What he experiences next is beyond any ethic or moral he's ever known! I regret calling it a 'musical', but there are a few numbers in it that are relevant to the plot somewhat - but to me over emphasized. As to the mythological aspects, I think is very realistic. As we still don't know and/or understand so much of ancient religious practices. Be it the Druids, Aztec's, Mongolians, etc. And as we've recently seen, many cults have flourished based on loose interpretations of the bible, satanic religion, or just outright fantasy sold as fact. And I think that's the scariest part of the movie in that it neither condones nor condemns the villagers nor the officer for their beliefs. I have yet to see the remake, but I'm glad to have seen this first finally. One of those that will haunt for a long time on the mind.

Though the cast and technique is admirable and seemingly believable at first, the wheels soon come off as strange lights and beings are suddenly spotted. Then the wheels come back on, as the family tries to calm down and safeguard themselves. Then they come off again as the aliens approach the house, and panic ensues again. Then calmness again, as a couple of the men go out for help, but apparently disappear. I think where the movie really falls is the lack of different psyche during the ordeal. Everyone's just 'scared' and/or optimistic that help will come soon. Whereas to be truly realistic, someone should've been 'curious', another in disbelief and trying to rationalize the situation. And maybe another developing anger that whatever is going on - bears, aliens, or pranksters; that they're going to put a stop to it. Some of all that does come into play momentarily, but quickly goes back to panic when a bump is heard or flash of light seen. Thus it gets predictable fast, and the watcher is merely waiting for the 'meet/meat' to finally happen. But for a low budget, small crew, simple film - it's a valiant effort worth a watch. But for true suspense and believably, The Blair Witch Project still reigns supreme.

Much in the vein of This Is Spinal Tap, following fictitious film maker Morty Fineman's (Jerry Stiller) 'last hurrah' as he tries to make his epic while being on the verge of complete bankruptcy. Great cameos by Hollywood pro's praising Morty's history of work, which includes snippets of gem's like 'Kent State Nurses' and 'Foxy Chocolate Robot'. There's witty dialog throughout, but the movie gets mired in over the top zaniness and/or pseudo dramatic moments. Had it focused solely on a 'realistic' documentary, or just a straight up comedy it would've been a much better movie. But for movie buffs and fans of comedy's like Spinal Tap and Walk Hard, this movie fits nicely in between or either side of them.

Right off the bat, this is a STRANGE movie! Directed by and staring Peter Vack as a drug fuelled homosexual playwright who decides to become a psycho analyst. To make things even stranger, his REAL parents star in it as his own, and his mother is REALLY a psychoanalyst! Peter plays 'Adam', who has newly sober Aaron (Jack Dunphy) as a room mate. Adam's sister Adah is also sober, and see's the same psychiatrist that Aaron does. Adam childishly causes Adah to relapse, and she gravitates towards Aaron. Causing him to quickly relapse. The two go on a binge around New York completely out of control. But Adah's hatred and contempt for her brother only grows, and she tries to convince Aaron to help her kill him. Meanwhile Adam has a total change of heart, and becomes a mild mannered psycho analyst, which drives Adah and Aaron completely around the bend! Without giving away spoilers, the movie gets REALLY strange after that! As absurd and outrageous as it gets though, there's an underlying message somehow woven in. Privy to the commentary and all of Peter Vack, he very humbly states it was a lengthy compiling of ideas strung together. And doesn't really have much intention of it conveying anything deep. He, and his parents seem totally laid back in the interviews after. Which actually made the movie more intriguing after first viewing. Was it some form of therapeutic outlet for Peter to get his innermost fears and desires out of his system? Or, like David Cronenberg - was it merely just some weird ideas that would make for an interesting story? As low budget and outlandish as it all is, the cast and crew really do a good job. An 'Eraserhead' for the new millenium...?

Definitely a movie for fans of John Waters! Crass, cheesy, gross, and campy as all get out. But also funny, slick, stylish, and well done. D'Arcy Drollinger as 'Champagne' is a cross between Divine and Farrah Fawcett. Whereas Water's was great at capturing the mugs Divine would give, Champagne gives them without effort. The dialog and acting is witty, fast, and over the top. Matthew Martin as the evil Dixie Stampede is priceless! The story is a bit convoluted involving a new addictive drug that causes users to lose control of their bowels. Once hooked, they're brainwashed to become employees at a shopping chain known as 'Mall Wart'. Which is actually a front for Dixie's prostitution empire. Using the employees to turn tricks in order to get their fix. Champagne's fiance is killed by Dixie's two thugs, and Champagne may have learned too much before he died. Thus Dixie wants her eradicated, and Champagne wants revenge. All in all just silly adult fun with nods and references to 70's and 80's pop culture galore. Hope there's more Champagne on tap for the future!

It really takes a while for this movie to get rolling. As it starts with Eric and Patti meeting, getting married and all the mushy stuff. But then Eric has a flashback and collapses to Patti's shock. Eric starts acting odd, and won't discuss his problems with Patti. So she finally goes to his veterans club and confronts an old army buddy to explain what Eric went through during WWII. The flashbacks and recollections start to become more revealed, as Eric becomes more withdrawn with everything. Learning his torturer now conducts tours on the Burma railway Eric and other soldiers suffered from in it's construction - the nightmare must be killed finally. It gets gripping and emotional by the ending, but takes a LONG time to get there. And for me, the movie seemed predictable from the get go. Though I think Nicole Kidman's a great actress, she seemed wrong for the part to me? And Colin Firth is a great actor as well. But his brooding scenes seemed a little too drawn out. Jeremy Irvine as the younger Eric is really the go to in this movie. Though with the impromptu flash backs, it's somewhat hard to keep the timelines and progression in focus. All in all, it's a worthwhile movie to see. It's a good depiction of the hell captured British soldiers were put through. And doesn't make the Japanese out as total sadistic monsters. The paranoia and fear on both sides and within are what's often missing from most war movies. And this does an amicable job in establishing that fact.

Just takes a seemingly long time to get there.

As a male electronic composer myself, I was aware of a few of the women like Wendy Carlos, Suzanne Ciani, and Laurie Anderson. But was amazed at so many female pioneers I never heard of, and the lengths they went to achieve what they were after. And that their main objective, regardless of how talented and proficient they were of any standard instrument; was to evoke emotion and thought through amplified sound. And without causing controversy here, I find that most male synthesists and electronic composers (including myself) tend to focus on 'expressiveness' through wailing solos ala Keith Emerson and Rick Wakeman, to detailed and perfect production pieces ala Krafterk to Depeche Mode. Not to say that male expressiveness via performance or production can't generate emotions or thought. But most of the female pioneers were purely content to have the sound and/or performance by the tape loops, synthesizers to computers be the guiding principle. To have enough knowledge in setting things up and managing them, but let the machines be the driving factor to convey their compositions. Very inspirational! And the fact that these women persevered as best they could with lack of support, sexism, skepticism. Along with personal issues such as lesbianism, gender change, relationships, etc. The movie doesn't touch too much on those issues by and large, but they are mentioned.

I'd love to see more explained, demonstrated, and personal struggles endured. But in amassing so many in the confines of a movies run time, it's very impressive all that got covered. And I'm sure there's still a lot that were missed out on as well.

As cheesy and '80's' as this movie comes off as, I think many miss the humour and satire that embodies it all. Think of putting Risky Business, Ferris Bueller's Day Off, Halloween, and The Breakfast Club into a blender. The first part is all sweet and predictable. But when the murders start happening, and more is revealed as to the perverted backgrounds of the students to the dean and his wife, it gets pretty deep. Walken's nonchalant character seems un-phased by the goings on, and seems to be a 'Scared Straight' mentor to young Artie to get him to mature and fear for his life. All in all, it does come off as a Made For TV, 80's romp. Yet the dialog, characters, language, and deviant background is memorably far from 'wholesome'. It's a fun movie that will stick with the viewer long after I think.

Spike Jonze hit the nail on the head for me with this movie. How our technology has warped our communication and emotional skills to such a generic and complacent level among our urban species. Yet, we are still genius enough to develop and foster an A. I. entity that can totally 'get us' and bring us back to a simplistic and fulfilled lifestyle. But the psychological impact for both human and computer is where Spike and Her shine best. And I believe this is what Stanley Kubrick tried to grapple with during his development of A. I. And which sadly got sidetracked and inundated with special effects and a myriad of characters. But A. I. is still good and displaying our own vane needs of wholesome childlike love, to deviant and perverse fantasies to interact with. But in the end, humanity comes off as a naive and unsustainable species that went by the way of the dinosaurs. But Her really makes us look at ourselves today, tomorrow, and hopefully for decades to come. It may very well be science FACT in the next short while, and how will we actually live with it? And maybe more importantly, how will A. I. actually live with us? Though not as spectacular and epic as 2001: A Space Odyssey was, Spike has crafted a realistic future environment that seems probable and determined. And simultaneously showing our own emotional erosion via distancing through isolation and technology. And we will have to rely on one another again eventually the way a recovering alcoholic relies on AA. And that's not in any way disrespectful, as Bill W. And Dr. Bob saw certain humans fallibility along with their own when alcohol became their prime source for ease and comfort. And lord help us if 'artificial intelligence' doesn't turn us all into 'Technoholics' in the future. (If it hasn't already for many of us?) Just a brilliant piece of story telling, film making and performances!

Truly a stunning movie all around! Having grown up through the actual time of Ted Bundy's capture and conviction and all, the sets brought it all back to me. But its when Luke Kirby as Ted Bundy enters the room, there's this creepy electricity that quietly radiates off him. Elijah Wood is great as the non-biased FBI agent that just wants to understand Ted and his motivations. But this intense friendship develops as Ted relies on the agent to be his somewhat salvation, and simultaneously shows the agent how impulse can become an addiction to anyone with anything. And is hard not to develop sympathy for Ted, as he was truly brilliant. Crippled with the heinous vices of rape, murder, and chewing gum. The camera angles, pacing, editing, and soundtrack all add to the ominous ambience of a truly present evil. Which maybe more on the outside of the prison walls than within. A truly exceptional movie!

I think this movie would get more laughs if the dialog was slowed down just a tad. The Chinese language is just so fast, and trying to keep up with the subtitles got tiring after awhile. But there is some good dialog in there, and could be watched a few more times to appreciate it all I think. As for outright 'vulgarity', it's actually pretty tame compared to early John Waters still. The language is definitely coarse, but when has that been new to NA audiences? As for explicit sex scenes over this reboot of 'Confessions Of A Concubine' that the movie centres around - none of it is ever revealed visually. The funniest parts are dealing with the Triad Gang leader, and his obsession with the most revolting food delicacies, and acts of bestiality. And his unrelenting love for this aging porn actress that he gets recast in this new movie, much to the producer and directors chagrin. The film is clever how it ping pongs around the time lines and its actors and sets are great. But just moves at such breakneck speed, it's really hard to digest all in one go.

The movie is clever on how Felix and Oscar reunite 30 years after our first exposure to them. As Oscar's son who's an actor; is planning to get married - to none other than Felix's daughter. Also an actress in Hollywood. The two older fathers literally crash into each other at the airport, and proceed to get lost, loose their transportation, and meet with sketchy people and local law enforcement on a frequent basis. Clever in the constant run in's, and great dialog as always that get them in and out of their predicaments. But had it not been for Planes, Trains, and Automobiles beforehand, this would've been a HILARIOUS movie! Instead it's somewhat predictable, forced, and tedious in many places. Hard not to like Lemmon and Matthau though, and they make the movie bearable at least.

The real story on Alvin Straight is touching enough. But the adaptation, filming, and acting is probably the best reflection of true American decency and comfort.

Richard Farnsworth and Sissy Spacek are just incredible in their roles as Alvin and his daughter Rose. Just good nature decent folk, despite Alvin's affection for cigars and Rose's awkward speech impediment. And neither play up or down their character to be a saintly old man, or a freakish misunderstood daughter. But when some of their backstories are revealed, one's heart can't help from going out to them. Then there's the scenery captured along Alvin's slow trek. Just stunning images that look like paintings come to life. Like Norman Rockwell, but yet continuously modern. The movie is a as fresh today as it was near 25 years ago! And I'd say it's best factor is it's quirky simplicity. Being directed by David Lynch, one never knows what to expect. But he's above 'genuine' in pulling off this film. A couple of odd moments and/or characters are encountered along the way. But no one or nothing 'stands out' as with Lynch's other films. They're just events that Alvin and the viewer hardly get to witness, and aren't that unusual when understood. And the towns people and citizens Alvin encounters along the way are realistic and relatable. Some are 'characters' in their manner, some are comically frustrated, and most are just plain decent. And nothing is drawn to any of them to say 'Here comes the crazy neighbour again...' or 'I bet that woman gets good and drunk when she gets home'. Just simply people trying to get through their day and/or their lives as best they can regardless of the circumstances they have or may be facing. And all totally endearing and forgivable. I hate to use the cliche term 'life affirming' - but I got to say The Straight Story is just that! I don't think anyone cannot feel good about life and respect America a lot better after having watched this.