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Million Dollar Baby (2004)
I think it's Freeman's best performance.
Narrating the story is Scrap, speaking like he's looking back to a time long ago when everything has passed. His voice seems flat, deadpan, but there is a working of subtle sorrow in it. Scrap is a sad human being, he sees himself as the result of missed opportunities in the past, and so he spends his time helping the others, offering them his wise advice, with a tone of deadpan humor and even cockiness. Scrap knows what should be done, and what will happen regardless, and he is sort of okay with everything, in a sort of passive way. But the man also knows what's right and he has a deep, inner strength which is displayed in one scene in particular where you just have to cheer. It is an intriguing character, and personally I think it's Freeman's best performance.
And Eastwood's best too. He is an elderly man; some might say too elderly to still be working. After all, most people are retired by his age. But if you had to guess when you're watching this film, you would never, ever say the man is seventy-four. You would say something closer to the sixties, because the man has such amazing energy and dedication, and above all, he has talent. It's been forty long years since "A Fist Full of Dollars" and film has come a long way, and so has this man. At seventy-four, passed all those years as an action hero, nearing what's could be the end of his career, Eastwood has made his best movie. I really, really hope he has time to make many more.
As for Swank, well, she must have found something big that she shared with her character, because this is not acting, it is existing. Swank is Maggie. That's all there is too it. This could be the movie she will be remembered for.
Sexy Beast (2000)
Logan has that quality that distinguishes all great villains
In fact it is the THREAT of violence, far more than the violence itself, which distinguishes this tale. Without the use of weapons of any kind, Logan is able to cow and terrorize a roomful of reasonably fearless adults simply by his steely-eyed demeanor and the unpredictable nature of his temperament. Seemingly controlled and rational one moment, he can suddenly erupt into a volcano of exploding anger the next. One of the most chilling moments in the film occurs aboard a departing airplane in which Logan refuses to douse his cigarette, thereby precipitating a confrontation with the flight crew. Logan has that quality that distinguishes all great villains: he throws us back on our heels by his refusal to conform to the social amenities that the rest of us simply take for granted and which put us at a decided disadvantage when faced with the evil characters of the world who know no rules and flagrantly disregard the ones we follow. He reminds us of how weak and vulnerable the rest of us really are.
Logan, for all the intensity generated by his character, is not, however, the focal point of the film. Gal, brilliantly played by Ray Winstone, who provides a fascinating counterpoint to Logan's no-holds- barred villainy, occupies that position. Despite his criminal background, Gal wins us over by his openhearted frankness, his sincere devotion to his wife, friends and neighbors, and his obvious desire to lead a straight life from hereon out. Winstone underplays his scenes superbly, yet he never allows himself to be acted off the screen by the fiery Kingsley. (One should mention that the heavy cockney accents of the characters make what they are saying a bit incomprehensible at times).
A Nightmare on Elm Street (1984)
Laughable dialogues
I guess why I rated A Nightmare on Elm Street only 8 stars is because of the laughable dialogue, the inconsistencies and irregularities. For example, some things can come out of the dream when captured, such as the hat and (spoiler – someone else) but then the trellis she doesn't even hold onto comes back with her. A feather from her pillow is seen floating but the mirror Fred crashes through survives. Nancy requests 20 minutes to capture the killer and still has time to set half a dozen traps, have a nice mother-daughter talk and fall into deep sleep. And Fred is only supposed to appear when one's asleep; yet, Nancy receives a call from him and the ending blows any of the story's mythos out the window. Literally.
I'm not just talking about goofs, as all movies have them, but they set up a premise, a good and original one in a series of horror movies that relied on a masked killer stalking in the shadows. At least they tried here to change the trend. But, unfortunately, they kept breaking their own rules. It actually would've made more sense to have him as a ghost and then all bets are off. (Granted, he's sort of a ghost, but with rules.) As for the dialogue, though some of its iconic by now, it really doesn't hold up. A few years back, I saw A Nightmare on Elm Street in the theater for a one-night presentation. Being a huge fan, I arrived way early to get good seats, but still thought hardly anyone would show up. Well, it completely sold out. And to my surprise, everyone practically laughed all the way though it and it appeared both at and with the movie. I had to, myself. Even though I grew up on the series and loved them, the movie really was silly, namely for some of the lines, acting and characters – Oh, that drunk mother! Alcohol should be part of any nutritious breakfast! I don't think the audience was really criticizing the movie, they were just having fun.
Aside from negatives, I am still awarding the movie 8/10 due to the movie being enormously inventive, original, fun and despite Fred(dy) not being in it too much, he was extremely iconic, an instant super-villain. Also, I'm glad it started a cult following since a lot of the sequels explored a lot more and were, in a lot of ways, far superior to this original one. So, it did set the stage, introduced a whole new world and just as Jaws did for swimmers, this one did for sleepers. Only, with Jaws, you could choose to stay out of the water. Here, and in real life, you eventually have to sleep. Maybe for the last time.
Emotional Arithmetic (2007)
Screened at the 12th International Film Festival of Kerala, India,
"Emotional Arithmetic" based on a novel by Matt Cohen (a Jew?), begins with an astounding remark "If you ask me if I believe in God, I am forced to answer does God believe in us?" The film is not about atheism. It reflects on the terrible scars left by war on orphans, on individuals who stand up and protest when wrong is done, on relationships forged in times of stress, pain and loss.
The charm of Paolo Barzman's film rests considerably in the hands of the capable actors—-Susan Sarandon, Max von Sydow, Chistopher Plummer and Gabriel Bryne—-all who have a maturity to carry off their parts in the film with grace. Ms Sarandon has matured into a formidable actress in recent films and this one showcases her talent.
Screened at the 12th International Film Festival of Kerala, India, the film forced this viewer to compare the contents of "Emotional Arithmetic" with those of a Swiss documentary "A Song for Argyris" also shown at the festival. Both films underlined the difficulties in forgetting tragic events in our lives and moving on. Both films indirectly discuss the bonding of survivors of tragic events.
As I watched the film I could not help but note the growing interest filmmakers in family bonds—in "Emotional Arithmetic" it is merely a subplot balancing a "virtual" family that suffered during the Nazi rule with that of a real family comprising three generations living in idyllic conditions in Canada.
This film would offer considerable material to reflect on for the viewer, beyond the actual events shown on the screen.
The Taste of Relation (2009)
The performances in this movie are superb.
The script is great material for them to work with too, extremely witty, rarely if ever falling on it's face, and complemented with some fantastic sets. And let's not forget the music. From the legendary theme tune, to the harpsichord jingles accompanying the visual gags, to the booming organs during the heavier moments, it's spot-on. The whole movie works as one to capture.
Sure, there's a plot too, but while it drives the movie on, you'd watch this movie for the wonderful theme, not for an intriguing plot line.
It's a classic, and you're doing yourself a disservice if you haven't seen it, or if you think you're too sensible for this kind of movie.
Zombie Beach (2010)
A great late-night horror flick with action and comedy.
It's a better than average directed (for a B-movie) tale with a swinging Zombie Beach soundtrack, ghoulish zombies galore and a charismatic "Killer" lead character played brilliantly by Mukesh. End credits lasts very long but making of film and stills were too good to sit and watch the whole thing.
The plot, such as it is, seems to center on the beach natives desire to sacrifice a detective.But given the bedroom scene early on in the movie, well, I got the impression that both actresses were very good in the kissing scene. The beginning of this horrendous horror flick, the first couple of minutes with the hollyman,crazyman and lead actors all very well done.
I loved the music video zombie beach and it was the best part of the film.