Manhattan Portrayed as Purgatory: "Jacob's Ladder"

Billed as both quaint and devastating, "Jacob's Ladder" is truly in a category on a bit of an island; it is one hard movie to figure out the first time you see it. Tim Robbins plays Jacob, a Vietnam era veteran who starts on the ground in the war, with some deafeningly slow and loud chopper blades, a hell of a lot of confusion, and enemy fire. Many of his comrades start convulsing and having lethal problems, and shaking like epileptics. Jacob runs into the jungle and is stabbed by an enemy, abruptly and spookily.

Then we bounce to a shot from the floor of a New York City subway, where he is now a postman. He is unable to get out of the turnstile area and while another train passes, it looks like there are some sort of morbid ghosts on board. We see the woman he is now living with (Elizabeth Pena), who also works with him. They seem to have a claustrophobic yet normal Big Apple relationship, both working as much as they can. Jacob gets an incredibly high fever one night, and is thrown in a bath of ice. He sees some of the most hellish visions yet, a morgue, a mental hospital, and even places resembling the gore of the first "Saw" movie.

Whenever he goes awry he is back on the tweaking table with his chiropractor Louis, who is akin to a supernatural figure, the only one who can steer him on track. Jacob also lost a son before the war, and is haunted by visions of him in his Saturday morning pajamas and other tender family times. This has the ability to mess with him letting go or dealing with any of these wild things happening to him, and he meets with some old war buddies. Now the government says they were never in Vietnam, and his other buddies are seeing intense and otherworldly things as well.

Through some hard to follow happenings, we see that Jacob was killed by a fellow troop, and that they were given a drug called "The Ladder" to make them more aggressive. It is evident that now the whole time in New York has been a journey while dying, and it is horrifying. This movie can really get under your skin and can be a bit anguishing but is a true B movie hit. The story is told very trickily, and many viewers wouldn't have it any other way. When Louis is repairing Jacob on the table, he tells him a memorable thing, "If you are frightened and you are holding on, You will see devils. But if you have made your peace, the devils are really angels, freeing you from the Earth".

Flashback for Sci-Fi followers: "The Day the Earth Stood Still"

An excellent 1951 classic., "The Day The Earth Stood Still" is a story of an alien that comes to our planet with the aide of a robot to give a profound message to our human race. The great images, stealth silver outline of the crafts, and depiction of a landing in Washington, DC are all killer elements of this wonderful sci fi blast from the past. The fear of the alien beings, premonition to Cold War themes, and an aim to promote a strong United Nations were elements of the film. Many true Sci-Fi devotees claim it as one of their favorite black and white films ever, and Arthur C. Clarke himself ranked it very high. At a time when curiosity of the unknown was peaking, and an economic boom was festering the probability of exploration in later years, there is many ways in which this film came along at the perfect time.

Buscemi bleakly navigates his way through kidnapping, "Fargo"

When you are dealing with the Coen bros telling a story about a struggling car salesman who arranges to have his wife kidnapped, you know that it's probably going to be quirky, strange, and desolate. Billed by Siskel and Ebert as their favorite movie of 1996, "Fargo" shows us the story of Jerry Lundegaard, who is under pressure from his boss at a car lot to upsell features; and it's all really not working for him. He is cast perfectly as someone who no one seems to care about; his problems are real but his father in law (Harve Presnell) and wife (Kristin Rudrud) naively think he will keep plodding along.

As his pressures escalate, he talks a convict at his car lot into introducing him to introducing him to two criminals who will kidnap his wife, while pocketing some of the ransom from his rich father in law. Steve Buscemi and Peter Stromare play the two crooks that are hired, and their dual combo of sleaziness is rigidly perfect.

Buscemi plays the ultimate con man, not nearly channeling the dominance or organization of his role in "Boardwalk Empire". Stromare is a Nordic, angrier, more pissed off criminal who really does not say much. A cop is killed after stopping them for not having license plates, and immediately afterwards a couple who witnesses this is shot by the criminals as well.

Enter Marge Gunderson, (Frances McDormand), who shows up at the homicide. She is very pregnant and has the true northern accent; this is her signature role as a woman who is painfully simple but has her police wits entirely intact. One of the real treats of this movie is watching her navigate the case while having to be utterly physically uncomfortable.

 Her candor is perfect and her charm is so subtle it's like taking a strange pleasure in scraping the ice of your windows. And in the locale of this movie, there is plenty of ice to scrape. The first meeting with the ransom gets utterly botched, and Buscemi is shot in the face. Jerry's father in law is shot here, and things escalate into madness. The best things about this movie are Marge's persistent persona of investigation, and watching Jerry try to hide a secret.

We are led to believe that he does love his wife; that this was probably just a scheme to get money. The real element of choice film here is watching things get worse for Jerry. A tale of a man's problems takes extra craft to spin this well, and it is a signature role for Buscemi as a crook whose main nuance is having no real care for anybody in the world.

This is a top notch film; and it's themes of desolation are Paralleled by "No Country for Old Men". The two films would be great to watch together on the same evening, to expose yourself to the true quirks that make the Coen recipes taste so good.

Depression Era Gem: "Road to Perdition"

Tom Hanks, Paul Newman and Jude Law are at the forefront of this story about a connected man and his son who are on the run and in search of those who murdered the rest of their family. After finishing "American Beauty", director Sam Mendes wanted to have something that focused more on imagery and not as much diolouge; this was part of it's criticism, but also part of it's acclaim. Tom Hanks is Michael Sullivan, who works in Rock Island, a smaller city in Illinois crime ridden 1930's. Tyler Hoechlin is the child actor who plays Sullivan's son, a twelve year old who witnesses a murder.

The party who was in charge of the witnessed murder kills Sullivan's wife, and other son, and the two head out to Chicago to seek work with Al Capone and find the wherabouts of the murderer, named Connor. Before all this we get a glimpse of life before the incident, and Paul Newman is excellent as the local Rock Island crime boss. When the Capone crew is asked permission to work for and kill Connor, they do not oblige, putting Michael and his son is a predicament. They begin robbing banks that house Capone's laundered money, in hopes of making an exchange.

Some people did not enjoy Jude Law cast as a henchman hired by Capone to kill Sullivan, who broodily photographs his victims. For a few reasons I highly enjoyed him in this, he seemed a little crazy and not as hard edged as some gangsters. There is a scene in a diner where he begins to actually talk to Sullivan and his son, and they quickly realize its a setup. Sullivan teaches his son to drive the getaway car, and the movie shifts gears into a bit of a father/son classic. When i first saw this, I did not know it was based on a graphic novel, which has got to be kind of a nice specimen, a gangster novel instead of monsters and superheroes for a brief change.

Sam Mendes had attempted to make a gangster film here that avoids the same themes as others, and I widely think that he has. It is a bit hard to re watch because of the somewhat surprise ending and some drawn out moments. Some critics felt detached from it, like they did not have the ability to care about the characters. 2/3 of the way through, Sullivan is injured and the two have to stay with a couple on a farm; at this point we see some wonderful things happen; that engrossed me a bit more in the relationships. This is one of my favorite roles for Tom Hanks, who is known as a a take him or leave him actor.

There are some great scenes of the 1930's car rolling through the Midwest, and with that moving car, there is a theme of comfort, as if Sullivan, the boy, and the car are one. The best thing about this is that if you are able to be pulled into it quickly enough, it sticks with you; and there are some cold sensations that the winter, rain, and robberies conjure up in you. When you as the viewer ride with Sullivan and his son in the old car, there is a bit of foreboding doom. But there is also a glimpse of a land with promise; that was being eaten by the economic and criminal cancers of the era.

Horror Movie list from the 1970's!

The 1970's were a very defining time for horror. While there were some movies that didn't meet the bar, this inclusive list is full of a lot of the ones that did. "Young Frankenstein", "Halloween", "Piranha" and "The Swarm" are many of the fun ones on the list. Sometimes the long pauses, imperfect editing, and glitches of the genre have a lot to do with these great movies. This was the decade where a lot of real terror came to screen, and of course launched the slasher films in higher volume. From big blockbusters like "Alien" to other treasures like "The Brood", it's one fine period of horror that could be known as the best. It doesn't always take computer generated effects to get you to jump out of your seat! Here is the website with the list:

100 great 1970's horror films: 

Ace does fly High indeed; in Scorsese's "Casino"

It's a harrowing thing to be told of all the secrets of the desert and threatened to be buried out there yourself. The 8th film by Scorsese featuring the iconic Robert De Niro as Sam "Ace" Rothstein, "Casino" is the story of a gambling professional hired by the Midwest arm of the mob to oversee the fluid operations of the Tangiers in Las Vegas. The outfits overseen by the character in real life were the Stardust, Hacienda and Fremont casinos in the newly booming desert empire in the 1970's.

What many claim is Joe Pesci's maturely signature role, he plays the true enforcer behind the scenes, making sure that the mob gets money off the top and everyone stays in line. Rothstein's wise move of always making the right bets for the mob in the beginning really pay off (for a while) as making him a golden child of the teamsters, who are not allowed to go past Kansas City to make money.

Full of wonderfully crafted scenes that guide you through the operations, security, lavish entryways and valet areas of the casinos, the narraration splits between De Niro and Pesci perfectly, as Pesci's temper really, really starts to get the best of him. To say the least, he stomps on, intimidates, steals money from, and extends his smart middle finger in the direction of anyone who crosses him. "Goodfellas" is an obvious gangster masterpiece, with the same craft of showing you the players like illustrious mobbed up individuals with their own unique traits. The sheer fact that the blinking lights, rows of slots, and violent humor gets to go a step further here with the locale make it that much better.

 The issue of very lax gaming laws in the 1970's is the reason why Rothstein is allowed here in the first place; you could at that time operate while your license was pending. As in many other epic plots, a woman enters the scenario and changes everything. When I first saw the film I thought Sharon Stone was not going to belong, that she was hideously miscast. Nope; she is a hustler named Ginger who as Rothstein tells us "can keep a man up for days before sending him home broke and disheveled".

A hybrid of true gold digger with another bipolar side possessing a bit of heart, her ex boyfriend Lester (James Woods) is a constant thorn in Rothstein's side, and he cannot see her attraction to the loser who sometimes "doesn't have enough gas money to pick up his own check". Her and Rothstein marry, and she eventually goes down a path of addiction and deceit. Many other scandalous things happen and red flags are raised on Rothstein's gaming license; with a true to life ending of what usually happens when you try to cheat the establishment. Full of music like the Rolling Stones, Fleetwood Mac and The Moody Blues, there is a hardcore type of jangling going on here that can make you feel like you are eating a steak buffet at 4 in the morning.

 "Casino" is one of those depressing tales that doesn't depress you all the way, watching someone take over like Rothstein is a cinematic adventure. Webs of production don't get spun like this every day in Hollywood, and it is a trademark; a homage to a bustling time when you could stand up straight and take what you wanted if you had the balls to.

Rewind to the Masterpiece about Replicants; "Blade Runner"

Los Angeles in 2019 is portrayed by Ridley Scott here with such painstaking effort that it could be said there are few films on the planet that trump it. Performing at not so hot levels in the theaters; it has since been recognized as a nearly immaculate cult classic. Dustin Hoffman was originally sketched in the storyboards, and was thought to be the pick, but Harrison Ford became the lead man after his performance in "Star Wars" and his keen interest in the story.

As so many great films are, it was plagued from the beginning; and also took a risk with lesser knows actresses Darryl Hannah and Sean young. Even Scorsese himself was a bit interested in the root derivative of the idea, the novel "Do Androids Dream of Electric Sheep?" Lighting instructors everywhere praise the film for its neon look, futuristic stark visions, and success with the constant element of rain.

Harrison Ford is Rick Deckard, who is brought in to hunt down replicants, robots built for menial tasks that are not supposed to be back on Earth after four years of existence. One of them has shot an interviewer in a questioning, and he is flown over a futuristic array of pyramids to investigate. On the ground, there are Japanese sushi bars, modern urban decay, and technical gadgets which do resemble those of present times. We are shown that Rachel, (Sean Young) is a replicant who believes her memories are real, and is upset at the suggestion they are not.

On the new blu ray that has just been released with many versions and workbook saga and a documentary, it is shown that Sean Young was cast perfectly; Ridley liked her iciness and she was almost just like a doll. Rutger Hauer plays a great villain in this movie, laughing demonically with streak blonde hair and having an amazing standoff with Deckard in the end. When interviewed, Hauer says it was hands down his favorite performance and movie.

What audiences saw as flaws were pacing, introduction near the middle of a strange array of puppets and different feel in the cast. With the action not being constant even having a perfect standoff in the end, there are some identity confusions; and those who get frustrated with the typical A to Z plot did not understand the symbolism. The parallels to the future, and warnings about a world where the lower class is breached from any hope by means of technology, scanners, and profile tests were very landmark at the time. The true achievements of "Blade Runner" are the futuristic flying scenes, Deckard wistfully wondering what his journey will end like, and the portrayal of a world full of spinner cars and devices that were painstakingly invented by the crew.

 As the spinners fly by the sides of buildings with an almost 1984 or "Brazil" themed warning of some sort of colonization, it was evident that Ridley Scott really was "exploring pain" since just witnessing his brother's death. Pitted up against "ET", "Star Trek II, the Wrath of Khan" and "The Thing" was another reason why this sci-fi film was a bit disappointing at the box office. Re visiting it now is always a treat, and the driving element of Deckard questioning if whether he himself is human wins the serious viewer over. So far ahead of it's time and so delightfully grim; I cannot shun this film by giving it any less than the full five stars.

Like Catnip for the Sci-fi Connoisseur, "Close Encounters of the Third Kind" still amazes; 35+ years later

Released in November of 1977, "Close Encounters" is one of those movies that invoked so much magic and awe in the audience, it left them driving home wistfully thinking of their own origins; and the entire galaxy. Richard Dreyfuss plays Roy Neary, an electrician in Indiana who sees UFOs while on a night call and is mesmorized by them completely, following them until it even derails his marriage. Jack Nicholson, Dustin Hoffman, and Gene Hackman all turned down the part, originally thought by Speilberg to be played by Steve Mcqueen. While on the set of the masterpiece "Jaws", Dreyfuss slowly coaxed Speilberg into being the leading man for this gem as well. In the beginning we are shown some ww2 planes left in the desert strangely, minus the pilots.

Then, we are shown the predicament via air traffic control of two planes having a near collision with a UFO, startled. 3 year old Barry in Indiana is woken up when his battery operated toys start moving on their own, and goes out the door to chase the beings. In one of the best moments in movie history, Roy is stuck at a railroad crossing looking at his maps when a ufo slowly buzzes over and shines a light directly on him. the crossing sign shakes, the truck battery goes awry, and he is genuinely terrified. Some highway patrolmen chase the UFOs, and another grand scene with them flying through the toll booth is shown. Eventually Roy becomes so obsessed that he makes a model of Devil's Tower in his basement, where the United Nations has constructed a communications center and landing pad. Roy is accompanied by Jillian, a woman who also is interested in the UFOS, to the landing site to witness a final spectacle of interstellar wonder.  

People in the industry joked that the 3.3 million dollar effects budget at the time could be used to make an entire other film, but if you go revisit this classic, you will be glad they stuck with it. Jillian is Barry's mother, who has been taken by the aliens. When they sneak onto the landing site, the night sky by Devil's Tower with the lit landing pad looks like a perfectly painted surreal setting, and hints of global governance tell us that even back in 1977; the whole world would attempt to join over events concerning interstellar peace. When the craft lands, the beings are somewhat like the "grey" aliens portrayed in later films, but curiously friendlier. The missing airline pilots along with young Barry are released, and a few other choice events happen.

Said to be a homage to his younger days when Speilberg saw meteor showers with his father in New Jersey, this film is almost like a child's dream; wherein all elements of hostility are ruled out in the end. If you revisit this film you undoubetdly may drag along a bit in the middle; but as many masterpieces the beginning and end are essential. "ET" was a bit more lovable and may have had more heart, but "Close Encounters" is the big daddy of the alien genre; and many buffs will raise a glass to it for decades to come.   

"Heat" by Michael Mann: The City Of Angels' Epic Saga bathed in blue

Bathed in a sea of blue, Los Angeles has almost never looked better. This epic crime drama from Micahel Mann is said to be his best, what he wanted to do with "Thief" from 1981, with a bigger budget. Al Pacino is Vincent Hana, a cop who is in another failed marriage, burnt out yet still on overdrive. Robert De Niro is Neil McCauley, a man who did time in Folsom who still takes down scores from safes and banks. Val Kilmer has a good supporting role as one of De Niro's henchmen, and these guys really do not mess around. In the beginning we see Neil steal an ambulance and the first score is an armored truck. They hire some help that goes a little crazy and kills the driver, and sparks start to fly left and right.

Many did not like the length of this film, and at almost three hours that is understandable. A very ambient musical score, and McCauley's hard nosed desire for one last retirement plot make this picture sizzle. The layers of blue are shown to us in perfect form, when Val Kilmer is asleep on McCauley's floor after a fight with his wife. De Niro sets his gun on the counter, gets coffee for them both, and we see the Pacific Ocean behind them in it's early morning glory as Kilmer stumbles up. Michael Mann also achieves these perfect shots in "The Insider", in which he shows us Russel Crowe standing by a lake getting ready to testify against big tobacco. The simple, modern apartment which still has no furniture is the homage to the man who has everything but wants just a little more.

Amy Brenneman plays Eady, the lonely artist who McCauley meets in a bookstore. At first completely snubbing her, he falls for her lost persona, a delicate woman who moved out West. His desperation for companionship is a wonderful theme, and the real treats in this movie happen when Pacino and De Niro sit down together for Coffee. McCauley is told that "now that he has been sat down with in person, I am not going to like it when I am going to have to take you down". He returns the qoute by telling Pacino he neither will like it; and the stage is set for climax. a portrait of the busy highways, secret information being sold, banks letting themselves be ripped off for insurance money, and shoot outs in broad daylight, "Heat" is a modern winner of a film. Taking from some of the best dramatic scenes of his TV series "Miami Vice", Michael Mann shows us what the big boys do here when they sit down to making an epic gangster movie.