Casa2000 Reviews

Rudy (1993)

A Celluloid Heart

[13 February 2000]

One of the most wonderful things a film can do is be so moving and triumphant that it makes you cry. You aren't crying because Bambi mother's was killed or because Jack Dawson went down with the ship; instead you are identifying with the power of the human spirit. Rudy is an ordinary man, you could even argue that he is less than ordinary in regards to his physical tributes and academic capacity, but he achieves an extraordinary feat. He leads with his heart, even when he doesn't fully understand why he is putting himself through such perils. He seeks to prove himself to others, to all those who doubted him and he thrives to achieve his goal for those few who believed in him. And eventually, when he tested in his darkest moment, his epipany comes: he needs to do this for himself.

Sean Astin is brilliant in his role as Notre Dame's most famous would-be underachiever. He plays Rudy with such dedication and determination that it is impossible not to be impressed by his perseverance, inspired by his courage, and touched by his passion for the game.

The story is wonderfully told by director David Anspaugh and writer Angelo Pizzo. Jerry Goldsmith's score and Oliver Wood's cinematography truly capture the power and beauty of the story. This film is an incredible achievement. It touches its viewers right where it counts: in the heart. And the film has its own emotional centre, its own eloquent theme which everyone can identify with. We all have dreams, but we don't all strive to attain them because sometimes our work ethnic does not live up to our aspirations. As a result, Rudy is an inspiration to anyone who thought they couldn't hang in there or don't think they have the potential to even try. You can do anything you but your heart and mind to, it is just a question of maintaining that integrity for the entire journey.

Every single time I watch "Rudy", tears race down my face. This film makes me want to strive for all that I thought I can be and attain the most seemingly intangible achievements in life. It is important to have things in life which help you to realize your dreams and persuade you to act on them. "Rudy" is mine.

Notting Hill (1999)

Genuine!

[11 November 1999]

It is not always possible to sit down to a film without any expectations, ones which were not already predetermined by the summer hype, the big star, and the guarantee of at least $8's worth of entertainment. I spent my summer buying into the movies (I do not classify them as films) which created these illusions of genuine pleasure, entertainment which does not necessarily attempt to indulge into the true emotions which one can conceivably experience at the cinema. I saw The Phantom Menace, Austin Powers, Big Daddy, The Blair Witch Project, and others I cannot even remember. Yes, I contributed to their $100,000,000.00+ grosses, and for the most, came out satisfied to the extent at which I expected.

It might seem rather unorthodox, or even hypocritical, that I am beginning a review of a box-office blockbuster by seemingly distinguishing it from the other summer blockbusters, yet there is a method to my madness. I, in fact, did not pay $8 to see "Notting Hill" in the theatre; I had no desire to. In mid-November I discovered that it was now available for rent and I had 2 hours to kill and $4 to burn.

At present, as I type my perception of the film, I am watching it for the second consecutive time. At this moment, Anna Scott (Julia's character) has just leaned in to give William their first kiss. When I saw this for the first time two hours ago, I was taken by her action. It was completely unexpected, it was a defining movement for both their characters, it communicated to me that I am going to love this film.

I have never been a particular fan of Julia Roberts nor Hugh Grant, never making the effort to see any of their movies for the express purpose of witnessing their performances or staring at their manufactured images of beauty. Yet, in "Notting Hill", Julia had the ability to captivate me with her smile; it complimented every feature of her face and displayed a charm which I do not usually affiliate with the silent expression of a perfect smile. Her entire performance as the misunderstood Hollywood dreamgirl, which one would believe to be quite nature for her, was strikely original and unexpected moving. I was mesmerized by her gestures, her quite stares as looks in upon the lives of those she envies most. It is not her character that is original: the Hollywood actor wanting to return to a mundane and simplistic lifestyle has, of course, been done before. Although, it was not her identification with the character which appealled to me, it was her ability to express the competing lifestyles within a single individual trapped in the limelight: image vs desire, body vs heart, false aura vs true love. Her dialogue did not seem to come from a script. This is also a sign of great writing, creating the natural instead of the contrived. Yet, it was the method by which Julia allowed herself to live through her character, using that experience as a famous Hollywood actress to deliver a truly wonderful, sweet and loving performance.

"Notting Hill" is a romantic comedy but it is not structured around conventions. Its comedy is not designed to created side-splitting humour, its story does not circulate entirely around an unattainable love, although one may perceive that. It is a character-driven film, but not to any exaggerated extent. They are not put into situations which seems completely unlikely and ultimately results in a larger than life scenario which thrives on the audience's desire to experience the escapist's side of a situation, one that they would never be able to contend with. "Notting Hill" is structured by simple situations, believeable circumstances that would conflict a relationship between a Hollywood megastar and an everyday Romeo. As the events culiminate, my emotions grew and I was in tears by the time the film ended, with my complete emotional expression coming as the last frame faded to black.

I loved the premise of the film; the music was choice and perfectly paced and timed; the direction was subtle and very comprehensive. My favourite films are those which make an emotional connection with me, those which cause me to evaluate myself and ultimately determine that I long for certain elements in that film. I may learn that I really want to fall in love with someone who will rest her head on my side, using one hand to gently stroke my fingers and her other to rub our unborn child. The context of the film may not create ideal circumstance for me, I may not want to necessarily surrender my heart to a misunderstood Hollywood actress seeking a love which cannot exist within her current lifestyle, but great films work to stretch beyond their structured boundaries, and express desires that are in fact transferable and can exist, to a certain, simplistic extent, outside of the presented narrative. Films, although for the most part are fictional stories, work as both mirrors and windows to our own reality, exaggerating certain themes to provide a greater and clearer examination of the world around us. It is a highly critical art form, and can be a truly wonderful, moving, and enlightening experience. "Notting Hill" does not attempt to distort reality for the purpose of increasing its entertainment value, but rather presents a story which examines an evolutionary process of love, and the circumstances which may accompany such an endeavor. The characters may be creations of a screenwriter, but the basic experiences and emotions of those two characters are not restricted to them. We all can find our true love, and it may come from a situation as unexpected as that presented in "Notting Hill".

Star Wars: Episode I - The Phantom Menace (1999)

Candy for the eye, nothing for the sole.

[21 May 1999]

Lucas' highly anticipated (to put it lightly) Star Wars, Episode 1: The Phantom Menace doesn't live up to the hype, but what the hell could. The media and the fans have made such a fuss about the prequel that the filmmakers were automatically put in a bad situation: trying to make a film that could provide enough entertainment to justify a one month wait in line.

I went in with no high expectation and didn't come out with anymore. The film looks great with its 2000 visual effects, Williams' score is fantastic (as usual), the sound and spectacle are at the peak of motion picture capabilities. But, Lucas himself is out of practice, not sitting in the director's chair for over twenty years. The film lacks any emotion and the characters do not stretch any further than when they were on the page. The scenes which could have (and should have) been very moving, such as when Anakin leaves his mother, were flat and lifeless. Jake Lloyd was surprisingly well cast, as well as Neeson and Portman. Every single minor character was horrible and hard a great deal of difficulty delivering Lucas' exposition and completely scripted dialogue.

The film's best scene was when Liam Neeson's character and Dark Maul were saber fighting while Obi Won watched on the other side of the force field. Obi Won witnessed his mentor's death which impulsed him into a rage which resulted in Maul's demise. This explains why Obi Won allowed Vader to kill him in the original Star Wars: because it was Luke's destiny to witness his master's death and was the catalyst for all events which lead to his achievement of a Jedi Master.

Although, most of the film is just special effects with a weak story, an unexploited conflict and lifeless characters. I enjoyed it in terms of watching a film but there was nothing to feel - but this is Star Wars we are talking about here, it is far from Titanic on many, many levels.

Pulp Fiction (1994)

An Original Hollywood

[13 March 1999]

Usually you will not find a film like "Pulp Fiction" come out of the highly formulaic realm of Hollywood. That is precisely why Pulp is so popular with audiences and critics, the time has come for a new breed of film within the industry. There are a number of elements which makes Pulp Fiction one of the best and most important films in Hollywood.

Something that is very original about Pulp Fiction is of course its structure. It is both a narrative and non-narrative film at the same time. Tarantino takes on the roles of a novelist and a filmmakers, simultaneously. He tells three stories instead of the conventional single story and they are told through a number of perspectives. This makes the film much more interesting than usual and it tightens the shared universe that all the characters dwell in.

Tarantino's film is not meant to be a parody like many interpret it. It is supposed to represent real-life. The film's structure is circular; the film ends where and when it began to represent the perpetual crisis of life, the unending conflicts that exist within the reality we live in.

In fact, Tarantino emphases this point by attacking the Hollywood interpretion of life and displaying a conflict and contrast within that. Tarantino stereotypes many elements of his film to that of the conventional Hollywood presentation. He typifies the crime genre with his characters (2 washed-up hitmen, the crime boss, the crime boss's wife), their costumes (black, sullen), the violence, the death, the drugs. We see it all but then it is all twisted out of its conventional shape. The hitmen do not talk like usual hitmen displayed on film. They talk of TV pilots, toe massages and filthy animals. And even though they start out in the typical gangster situation with an assigned murder and retrieval of some goods, we then follow them for the rest of the day, instead of abandoning that story right then and there. We see conflicts and situations arise that are very unexpected and unusual for men such as these. Both their language and situations are atypical of their stereotype. We see that people of this constructed, everyday world do not go through a formula of life, they experience life in a seemingly unplanned fashion, just like real-life.

And when you look at Pulp Fiction nowadays, it has the very appealing retrospective ensemble cast. What I mean by this is that now everyone in it is a big star but back in 1994, they weren't all that they are now. John Travolta was wash-up and Pulp redeemed his career, Samuel L. Jackson was not well known, Bruce Willis had come off a bunch of box-office bombs like The Bonfire of the Vanities and Mortal Thoughts, Uma who?, Ving Rhames was a vitual unknown, Tim Roth and Amanda Plummer are purely creations of Quentin Tarantino, Eric Stoltz was trapped in the 80s teenage genre. In fact, Harvey Keitel was probably the only star but his character in the film was purely a creation of Hollywood and maintained that way throughout. This film still has a lot of appeal when you look at the cover box in a video story nowadays because it has this huge cast.

Tarantino's direction is also not that larger-than-life style that you are used to in a big Hollywood film. He lets his actors live and really indulge into their characters. He lets action take shape and remain on screen longer than would be expected such as Jules taking a long sip from a Big Kahuna coke or Butch walking to his apartment to retrieve his gold watch. He puts lots in the edges of the frame like the board games Operation and Life while Mia is about to get her adrenline shot. He integrates subliminal messages into his scene which take repeat and careful viewings to extract. Pulp has so much, both on the surface and within; much more than Hollywood is used to.

When you watch Pulp Fiction, try to remove yourself from those who feel they have to love it because everyone else does. Love it for what it really has and for what you can really see and feel. Watch Pulp Fiction over and over, and with each viewing look for something new and you will find it. You will usually only find a film with any similar merit as Pulp Fiction in the realm of non-narrative, avant garde cinema. But now that style has invaded Hollywood so take advantage of its genius and enter the world of fiction (but remember that nothing is as it seems, maybe even the title).

Executive Decision (1996)

Thrilling.

[9 March 1999]

"Executive Decision" has non-stop thrills. It has conflict on top of conflict. It is a lot of fun with a great performance by Kurt Russell. The Steven Seagal cameo was bold and original for him, not trying to steal the show.

Its only bad point is its direction. Stuart Baird is a fine editor (Lethal Weapon, Demolition Man) but he should have stuck with it and not tried to direct. So many filmmakers are moving into the director's chair after years in Hollywood and they are failing miserably. Cinematographer Mikael Salomon (The Abyss, Backdraft) did Hard Rain, special effects supervisor John Bruno (True Lies, Titanic) did Virus and actor Bob Sagat (Full House, America's Funniest Home Videos) did Dirty Work. I think one of the only successful transitions in recent memory is cinematographer Barry Sonnenfeld (Misery) who directed Get Shorty and Men in Black. Baird had no originality in his use of the camera. His camera movements were boring, shaking and poorly framed. He did try to get anything out of his villain that would make the audience hate them or root for the good guys.

Jim and John Thomas' script was full of poor dialogue but the action and suspense was first-rate. They haven't thrown out a good action script since the first Predator so it was nice to see them back in the swing of things.

Oliver Platt was very funny as the nervous aero-engineer. Joe Morton was good. Legwizaumo was poor as usual but who cares. All in all, Executive Decision is great entertainment.

Tommy Boy (1995)

Hilarious and Touching

[9 March 1999]

I can watch "Tommy Boy" over and over again. Farley and Spade are fantastic together. They both have a different kind of humour which they have perfected and gives the film variety. Spade is great at being sarcastic and insulting and Farley is a slapstick wonder who plays a terrific moron.

I laughed from start to finish. The movie has a great musical score. And all joking aside, the father/son relationship, although short lived, is very touching. A lot of the supporting performances are subpar like Rob Lowe, Bo Derek and Julie Warner but Farley and Spade keep the film in good spirits.

"Tommy Boy" is the best movie from any of the SNL crowd. Sandler's "Billy Madison" and "Happy Gilmore" are the only other contenders in the onslaughter of SNL spin-offs and stars. "Tommy Boy" is "like a 10."

JFK (1991)

One of the best and most important films ever made!

[9 March 1999]

Oliver Stone's epic film which follows the real-life events of New Orleans District Attorney Jim Garrison is a monumental movie event. It should have been named the Best Picture of 1991 instead of The Silence of the Lambs.

Everything about this film is perfect and it shows that when an intriguing story comes together with all other elements of filmmaking that are executed brilliantly, the film works on so many levels.

First off, Stone's direction is as good as it gets. He has an incredible passion for the subject, knowledge of the art and relationship with the camera. All of his footage goes together seamlessly and makes the 3 h 08 min running time blow by. He gets a strong performance out of the entire ensemble cast especially Costner, Jones, Oldman, and Pesci.

Scalia and Hutsching's editing is a work of art and tells the complicated story with incredible precision. Richardson's cinematography lights up the screen in both colour and black and white. Both of these technical aspects of filmmaking are molded into sheer artistry by these three men who have all deserved their Oscars for this film.

John Williams' score is one of his best (right up there with his Indiana Jones and Star Wars). The script is intelligent, thought-provoking, mesmorizing and heart-wrenching. Costner's closing speech to the Jury is finer that Nicholson's in A Few Good Men, McConaughey's in A Time to Kill and Jackson's in Pulp Fiction. It is Stone and Sklar's best work.

The subject matter is incredibly controverial and subjective but Stone's delivers it with such emotion and raw power that his alternate myth to the Warren Report seems factual. The film is an investigation into the human spirit and how the vigour and dedication of one man and his team of associates can rise above the highest powers of the world and encode a message into the minds and hearts of millions. John F. Kennedy has countless achievements and qualities as a president which makes his life and term one of the most incredible and worthy of deep study.

Oliver Stone's JFK should go down in film history as one of the most important American films ever produced. Watch it with an open mind free of prejudice and predisposition and you will find yourself wanting to go to the library and learn more about this global tragedy.

Saving Private Ryan (1998)

Visually and Emotionally Stunning Film but Without Heart and Soul.

[8 March 1999]

I sat in a theatre, surrounded by strangers and by the end of this film, I felt I was pulled into the battlefields of WWII. Spielberg's main goal with this film was to create the reality of war, the horror, the fear, the gore, the devastation. He succeeded on all counts. The action sequences were nothing short of incredible, very realistic and frightening. But unfortunately, I think that Speilberg's desire to create the most visually powerful war film of all time was overpowering his ability to tell a good story.

The story was not a very good one. The story is the heart and soul of a film and it cannot be compromised for the sake of expressing the strictly visual component of that story. Not only was it completely unbelievable that the US army would send out a group of soldiers in search of one man in the middle of war but the whole movie you are just waiting for another battle to take place. It kind of reminded me a bit of the movie, "Twister." Of course, it was much better than "Twister" as a whole but it had a similar structure, good action interrupted by a bad story. All of the performances are fantastic (and that makes the story watchable, unlike "Twister") and some of the Rodat's writing is good (Like Matt Damon's "back home" speech) but the film's visual presentation of war is just so enthralling that no story could probably match it. It is the downfall of any movie which has a much more talented director than screenwriter.

That doesn't mean to say that that combination of writer/director can't work. I believe that Face/Off had a pretty unbelieveable story but John Woo's ability to intergrate the visuals of the film into the story itself and tell the crazy story so matter-a-factly makes it work. Spielberg didn't seem to take as much interest in the progression of the narrative as he did into the progression of the battle scene. And ultimately, this makes the film stagnate quite frequently.

I still believe the film to be worthy of Best Picture, Cinematography, Editing and a number of technical awards. I don't think that it deserves to win Best Director or Screenplay (but it mostly still will win). The chemistry that is essential to making a story work was not there and that holds the film back from being a complete masterpiece. If you want to watch WWII film which incorporates both good writing and good direction watch Terrence Malik's "The Thin Red Line" (it at least has a better balance of the two). Still watch "Saving Private Ryan", just don't expect to start crying for the characters and their conflict, but expect to cringe in your seats at the horrors of war which Speilberg brings to the screen with incredible authenticity and realism.

The American President (1995)

Great Script, Great Direction, Great Performances.

[8 March 1999]

Rob Reiner and Aaron Sorkin's last collaboration, "A Few Good Men" was a tremendous success with me. I thought that the simple conflict was exploited in a very enthralling and entertaining fashion. Based on this work, I was very excited to see "The American President", especially since it starred one of my favourite actors, Michael Douglas. I was just as impressed with this film.

The story had that intelligent humour and interesting story that worked so well for "A Few Good Men". Douglas and Bening had a great chemistry which blended well with their strong performances. I found myself laughing and crying at the same time. I empathised with the tragedy in President Sheppard's situation and I was moved by his handling of it. There are fine performances by the supporting class, especially by Michael J. Fox in a role he was born to play (it's Alex Keaton meets Marty McFly).

This movie is thoroughly entertaining and moving. It will play with all your emotions, from the opening scene with its fantastic musical score to the film's final shot.

Cliffhanger (1993)

Sheer Entertainment

[8 March 1999]

"Cliffhanger" is a thrill ride, with fantastic stunts and non-stop excitement. The opening sequence sets the pace for the mile-a-minute action. Alex Thomson's photography is unbelievable and makes you feel like you are really hanging from a cliff. The story is sufficient and the content makes you forget about any lack of orginality or bad dialogue.

Renny Harlin brings life to a lot of very entertaining action sequences including an air-to-air transfer that is nothing short of astonishing. It is good to see Stallone back at what he does best. Lithgow is an impressive villain, very diabolical and heartless. Turner was a disappointment but the entire love story took an appropriate back seat to the action.

"Cliffhanger" is just supposed to be summer fun and it definitely delivers. It keeps its fast-pace and builds to a very exciting climax. It is a formula action film at its best. If you just want to be entertained for 2 hours and not have to worry about thinking about the complicated story, "Cliffhanger" is the way to go.

Can't Buy Me Love (1987)

80's Entertainment At Its Best

[8 March 1999]

I love those cheesy 80's teenage love stories. They are fun and entertaining. "Can't Buy Me Love" is one of the better ones for sure. It is one of those movies that you can watch over and over and still love it. The story is interesting and the performances are great. Amanda Peterson is fantastic as the high-priced yet emotionally repressed love interest of lawnboy Patrick Dempsey. The story is funny and moving and can even make you cry. Watch it with friends, watch it alone, watch it with someone you love and remember the pressures of high school and the friends that got you through it.

Raiders of the Lost Ark (1981)

Raiders Never Dies

[8 March 1999]

I just finished watching "Raiders of the Lost Ark" again - I have lost count how many times I have seen it. I believe this to be the most thoroughly entertaining film of all time and the best trilogy of films ever.

Steven Spielberg should and most likely will be remembered as the most successful filmmaker of all time and the man responsible for contributing the most entertaining films to the business.

"Raiders" has the best mix of action and humour ever. The stunt work is incredible, the special effects are stellar for the early 80's, the story is original and fun, the performance are all memorable, the humour is intelligent, the music is uplifting (one of the best movie scores ever), and directing by Spielberg is the work of genius.

The film seems to be enjoyed by all who watch it and for very good reason. It can entertain all ages, all genders. I have loved it since I saw it at age 6 and will always love it, no matter what age I am. Everyone should own a copy of this film so that it can be enjoyed at any time.

Face/Off (1997)

An Energy Like No Other Action Film

[10/10 · 24 February 1999]

When Sean Archer (as Castor Troy) carefully put the walkman head set over little Adam's ears and the roars of gunfire, violence and death were overcome by "Somewhere Over The Rainbow", my emotion for "Face/Off" was confirmed. It was the single greatest action film ever made mainly because it was so much more. Its drama within its action is more compelling than any other action film.

The film is driven by two strong performances by Travolta and Cage and helmed by the best action director in the business, John Woo. The originality of the story goes way beyond the usual bad vs. good storyline. The premise of good becoming bad and vise versa is thought-provoking and has incredible possibilities, all of which are exploited beautifully within this film. Imagine the repercussions of taking on the identity of your greatest nemesis and your son's murderer. Looking in the mirror and seeing everything you have come to hate. Knowing that your worst enemy in sleeping with your wife and comforting your daughter. Everyone you trust wants you dead and everyone you hate wants to help. A story with elements such as these has already gone well beyond all action films to date by examining the nature of good and evil and there co-existence rather than showing them. What comes next meets the all expectations of the story.

With action sequences that leave you breathless and always move the story forward, with characters that you really come to care for or really come to hate, and with a level of entertainment which is off the existing charts. The film makes you think, the film lets you let yourself go and it takes action films to a new zenith - one that will now be very difficult to duplicate.

The Rock (1996)

"Get Ready To Rock"

[24 February 1999]

On the surface, "The Rock" seems like one of those formula action movies with the big budget($80 million), big stars (Connery, Cage, Harris), big explosions (I only counted 2), and big fun (you have to admit it was entertaining). In actuality, I believe "The Rock" to be a new kind of action film. It has bad guys who want to do good and a good guy who used to be bad. During the film, I was unsure who to root for.

Michael Bay (Hollywood's soon-to-be most sought after action director) has crafted a truly incredible piece of action filmmaking. His use of the moving camera and the close-up are perfectly choregraphed in such away that his footage is an editor's dream. From Bay's previous experience with music video, he has attained the knowledge and foresight necessary in creating a very busy film that works. Cut after cut soar by so seamlessly as you watch the film that you don't realize the incredible planning put into each individual shot. His film is so visual, so full of imagery that you feel the patriotism of the "bad guys", you feel the intensity of the action, the emotion of the conflict.

You absolutely love what you see, you love what you feel, and you leave the theatre knowing you enjoyed yourself. A film needs to pull you in to be fully successful. With the collaborative efforts of the entire crew you are able to feel the film working. "The Rock", with its face-paced musical score, its machine-gun editing, its tight story and its devoted and amazingly talented director, is the most thoroughly entertaining and well developed film of 1996.

Bad Boys (1995)

Michael Bay: The Next Big Thing

[24 February 1999]

I had no high hopes when I walked into this film. I like Will Smith, I like Martin Lawrence, so I figured this film will at least be funny. And it was funny, and then some. It was action packed, thrilling and a helluva good time. I came out of the theatre thinking that the guy who directed that movie is going to be huge.

Michael Bay, former music video and commercial director, has made an incredible directorial debut. The film never stops. When it isn't action-packed, it is funny. It is sexy, fun and always moving. Christian Wagner's editing is phenomenal. I love action movies that really try to be action movies. A lot of action films know that they are action films so they try to incorporate other genres to make the film more complete, but they often fail miserably. They try so hard to be something they are not that they forget what they are in the first place. The essence of the action film is the action. It is a necessary component, it needs to be there otherwise it loses its edge. "Bad Boys" doesn't just throw in the occassional action sequence to meet the expectations of the genre, but instead uses the action to help tell the story. It is this use of filmmaking that allows an action film to remain an action film and still go beyond.

Watch "Bad Boys" again and every time there is an action sequence, ask yourself why that was there and what did it accomplish. You will find that each sequence took the film to another level; it introduced an new conflict, it increased the present conflict, it eliminated a key character, it introduced a new character, and so on. There are a lot of action films out there that sacrifice story for spectacle, and the audience notices this. At the centre of all films lies the story and if it comes to a halt so does the interest of the viewers.

"Bad Boys" of course isn't the greatest story on film, or even in the action genre, but what is so appealing and memorable about "Bad Boys" is that it is just as entertaining with its story as it is with its action by combining the two without sacrificing either. Michael Bay understands the importance of the story within the structure of the film. He tells a visual story, entertaining and complete, and leaves you very satisfied. Watch for Michael Bay because he is here to stay.

Terminator 2: Judgment Day (1991)

A True Epic!

[24 February 1999]

I think that most people wouldn't expect to see "T2" compared with films like "Ben Hur", "Lawrence of Arabia" and "Doctor Zhivago" but it belongs in the same category as these legendary films. Really, why couldn't "T2" be put along side other classic films of this century, other than the fact that it isn't old enough to be considered a classic yet. I would like to breakdown "T2" so that it can be seen that it does deserve its own pedestal.

First of all, in order to understand the subtext of its incredible story, you must stripe away all the eye candy, the special effects, the stunts, the violence and look at the core of the story. In essence, "T2" is a film about the human spirit; its uniqueness, its power, its separation from that of the machine. We see how the human race has digressed in time, how the ability of the human mind was taken for granted in order turn the fate of the human race over to a machine. In fact, the entire existence of our race is defined and ultimately control and destroyed by a machine (Skynet). The film is about the conflict between man and machine, their resistances to one another and their dependence on each. This is a very serious subject that affects all of us. "T2"'s story explores and gives a result to this and does it in a manner which is extremely entertaining. Its story is genius, incredibly importance to all of us and told in such a way that we learn and have fun simultaneously.

Now, we can talk about why it is a modern classic. "T2" incorporates all the elements which make up a great action flick. A big star (in fact, the biggest), stellar special effects, high octane action, a strong conflict between good and evil, great stunt work and lots of fun and excitement. Put the appropriate amount of these contemporary visuals together with a great story filled with strong human emotion and you have a "Ben Hur" for the 90s. James Cameron is all to familar with knowing what viewers want to see and need to know. Look within "T2" and you may find that the movie is, in fact, a film. (Look for a Director's Cut with 18 additional minutes which heighten the emotion elements of the film)

The Abyss (1989)

Science Fiction At Its Best!!!

[24 February 1999]

I saw "The Abyss" for the first time when I was 14 years old and I remember being pulled into its story, its emotion, and its spectacle like never before. At that age, if it doesn't have somebody die every 3 minutes or an explosion or funny joke every scene, I lose interest fast. With "The Abyss", I abondoned all criteria for viewing a film and let myself go because the film let me do that.

I loved the story and the new twist on alien depiction. I liked the characters, the conflict, and the sub-plots. The special effects help tell the story rather than being the story. The movie was action-packed and thrilling beyond belief. The backstory and inner-conflict between Bud and Lindsey was compelling and very emotional. The large, global conflict was original and thought-provoking. The action scenes were fast-paced and extremely entertaining and often moving. I remember crying at the end when I was 14 and I usually didn't get emotional when watching films at that age. I have seen it many times since and still often have tears come to my eyes. "The Abyss" is one of the most under-rated films ever made and everyone who loves movies needs to experience the emotion, the power, the action, the spectacle, and the drama of James Cameron's best work. (Also look for a Director's Cut version with 30 extra minutes of footage).

Snake Eyes (1998)

What an opening!!!

[20 February 1999]

I had heard mixed reviews about De Palma's new film "Snake Eyes" but I really didn't care because I absolutely had to see it. I read the opening shot in the film is a twenty minute steadicam shot with no cuts and I had to see that. I saw it and loved it. There were a couple of hidden cuts but it still was an incredible achievement. Other films like "The Player", "Touch of Evil", "Boogie Nights", "Bonfire of the Vanities", "Halloween", and "Titanic" have all made great use of the tracking shot but "Snake Eyes" does it best. The shot is so busy, so well choreographed and so instrumental in the rest of the film that this shot works perfectly for the film.

Unfortunately though, the rest of the film doesn't quite hold up. With exception to a couple of very interesting POV tracking shots and an impressive crane shot, the film doesn't meet its opening. "Snake Eyes" is a director's film; De Palma is such a technically advanced filmmaker that his knowledge of the camera and the editing process makes this film watchable but his story is sacrificed in the process. If you like a lot of style in a film, "Snake Eyes" has it but not everywhere.

Titanic (1997)

James Cameron: A Man on a Mission

[10/10 · 20 February 1999]

It is widely known that the director is the hardest working person on the set. James Cameron takes this fact to a new level.

Cameron took a great interest in the great ship back in 1989 while filming his deep-sea thriller "The Abyss". In 1994, Cameron began principal photography of the wreckage just off the coast of Newfoundland. As Cameron took his cameras deep into the Atlantic, tears came to his eyes as he looked at the destroyed vessel for the first time. Cameron was on a mission to re-create the story of the great ship, a mission which could be called the greatest accomplishment in film history.

"Titanic" incorporates the widest variety of genres; it is a romance, a drama, an action/adventure, a suspense/thriller. It is a tear-jerker, a spirit-lifter, a special effects extravaganza. It drew in an audience demographic so wide that children, grandparents and all in between love to watch it over and over. It is one of those few films that you can see ten times and still love it, still notice something else which makes you love it more. "Titanic" took movie-making to a new level, both technically and thematically and in such a way that its achievement may never be surpassed.

Cameron poured his heart into this film. He wanted to produce a tale of the ship which would have a great effect on its viewers; make them feel for the passengers, the tragedy of the ship, the power of Rose and Jack's love. The symbolism of their relationship mirrors that of the ship itself. Their love for each other, although short-lived, will last for an eternity. They came from a different world, different backgrounds, yet the essence of their inner selves is so wholesome, so connected that they could not stand to be apart even if it meant changing everything they know.

The film reaches into our hearts, shows us a love so pure, so tragic and destined for destruction yet we all truly care for Rose and Jack, wanting them to survive so their hearts can go on. Tears came to my eyes on five different occasions while watching this film. I was pulled into the story, the characters and the sheer presence of the ship. I wanted everyone I cared about to experience this film, to be able to feel what I felt, to see what I saw. Cameron showed me a side to the human spirit, human tragedy, and the power of love well beyond anything I knew possible. I am eternally thankful for Cameron's monumental achievement and I will never forget experiencing "Titanic".

Armageddon (1998)

"Armageddon" Soars!!!

[10 February 1999]

Bruckheimer and Bay's new actioner goes well beyond their previous films, "Bad Boys" and "The Rock".

Michael Bay's incredible use of the moving camera and his foresight of the edited product are phenomenal. He fully utilizes the medium of film and chooses to tell the story visually with tremendous success.

"Armageddon" reminds me of those rare breeds of action films which move their audience with a deep human element in the story which was not expected when you walk into the multiplex. Other action films like "T2" and "Face/Off" have had fantastic longevity at the box-office because they surprise their viewers with a great story at the core of the awesome eye candy.

Essentially "Armageddon" is about the power of the human spirit and its ability to triumph over all. The personal struggles between Harry, Grace and AJ are all symbolic of the perils of an imperfect world. But, bringing themselves together or having to deal with the heartache of being apart allows them to see deep within their conflicts and bring them to a resolve.

Bay's footage of people around the world preparing for their inevitable demise is so powerful that when I saw three young children running out of a bomb shelter holding toy space shuttles, tears came to my eyes.

When an action film can make a grown man cry, the movie is a success on so many levels. I loved "Armageddon" for reasons I would have never expected. Watch it without those thoughts of the hype surrounding the film and you will see what I mean.