Reviews

This movie is excellent. If you don't like reviews that talk about how good movies are then go somewhere else. Let's get the whole Robert De Niro/ Al Pacino thing out the way first. Yes they both give terrific performances but it is near impossible to decide who gives the definitive performance. Al Pacino is on top form in all his Hoo-haa glory, chewing up almost every scene he's in. Robert De Niro also gives one of his best performances, so suitably subtle in the role of Neil. Both characters are driven by obsession, both professionals, both will not stop until the job is done. The character, I feel, that has the most depth is Neil. It is not enough just to get the job done but he feels it necessary to tie up all the loose ends as well, which is ultimately his downfall. He focuses on nothing but what he has to do like a laser beam on a specific point- witness his house, an unintentional post modern, empty, hollow space, much like Neil's life. He wants to have something in his life that can make sense and have meaning, and that's where Eady (Amy Brennemann) comes in. Of course, this doesn't end to well with Neil driven by his principles to leave her. Vincent (Pacino) also has depth but he is more aware of the things that drive him than Neil is of himself. He's your typical cop on the edge but with a twist, he's been married three times, a step daughter with problems (Natalie Portman) that favors him over her real father, again driven by an obsession to get his job done. Rather than waiting for help, he chases Neil through the streets of L.A. when a friend of his, Bosko (Ted Levine) is shot.

Heat is absolutely a character piece, it's the character's that drive heat, not the plot. But let's not forget the outstanding supporting cast, without their supporting character arcs, most of Heat would not have happened. What if Chris (Val Kilmer) hadn't been shot, would he have got away? What if, the aptly named, Trejo (Danny Trejo) hadn't been surrounded by the cops prior to the bank robbery would Neil and the gang have got away? If the problem with Waingro (Kevin Cage) had been taken care of earlier would Neil and the gang have got away? What if Donald Breedan (Dennis Haysbert) had not listened to his girlfriend, would anything have happened at all? What if Neil hadn't stolen the bonds from Van Zant would they have been caught? What if Neil wasn't so driven could he have got away with it? Who knows? Who cares? That's not the point, the point is these characters are victims of fate. Some people might say that this is one of these films that are about the choices we make. Some People are wrong.

This is, arguably, Mann's most stylish movie. A lot of imagery representing what is going on, reflecting the characters and how they feel and think. I'll be frank and say that this movie is blue, it is really, really blue. But hey that's not always a bad thing, especially in a Mann movie, showing the openness of what this movie all about along with the beautiful aerial shots of L.A. It's a real shame that Mann ditched Spinotti (or vice versa, I'm not sure which) as this is the high point of each of their careers.

And of course let's not forget about the action. The opening robbery is just a taste of what is coming next, the greatest bank robbery you will ever see. Guards brutally incapacitated, hostages handled well ("we want to hurt nobody... you're money is insured by the federal government you're not gonna lose a dime... think of you're families, don't be a hero... anybody feel sick or have a heart problem lean against the wall" to roughly quote Neil- Class) In and out, no time for error. When the inevitable happens, it happens with quite a force it will not be likely that you will ever feel anything like it again. Val Kilmer looks like he is having the time of his life, shooting anything and everything he sees, reloading as fast as a bullet only to repeat what he had just done. The assault rifles used were quite impressive, I'm not a gun nut so I wouldn't know but it looks like Neil and Chris carry M-16's with folding stocks (just recently made legal by Bush) but I don't have a clue what Sizemore is carrying. Just spray cars with ammunition and shoot anybody that looks threatening or gets in your way- that's the way to do it. The sound effects are just superb, top of the range and any other superlative you can attach to it, it really feels like people are firing guns by your head. But what makes this scene extra cool is that De Niro keeps his glasses on the whole time.

You know you are watching a great movie when the music sends shivers down your spine every time you hear it. Gia Lu Testa improves vastly because of Morricone's score. Just buy the soundtrack to Heat, play it at full blast and I dare you to resist watching the movie another time.

In conclusion I think that Heat is a landmark film, a film that should be placed proudly in your collection of movies, if you don't have it already, you have my pity, may god have mercy on your soul. BUY IT NOW!!!!!

96%

Possible plot spoilers

Martin Scorsese's second or third film (I'm not sure which) is most definitely one of his best, if not his best even compared to the likes of Taxi Driver and Raging Bull. It all began after Boxcar Bertha, a small exploitation flick with David Carridine(who also has a small part in this film). The movie was frankly rubbish with only hints of Scorsese genius present. After being advised by John Millius and John Cassavetes to do something more personal, he did.

The film is virtually plot less, revolving around Charlie's (Harvey Keitel) life in Little Italy as a small time hood, hindered by his eccentric cousin Johnny Boy (Robert De Niro, in one of his (unusually) raw and outgoing performances). The real aesthetic behind this picture is the religion incorporated into it. As a child Martin Scorsese wanted to be a priest (as I said, personal). But that is not the reason to watch this. Martin Scorsese's use of music and camera-work is simply outstanding and revolutionary. The opening scene in which Harvey Keitel wakes up in the night, looks in the mirror and then lays back onto his pillow, cutting in twice on his face to the opening three beats of "Be My Baby" (possible homage by Quentin Tarantino in Kill Bill, cutting in twice on O-Ren Ishii's face with the three beats in the Battle Without Honor or Humanity montage), sets the tone of the film in what's to come in the way of music and camera-work. After a short scene in a church with Keitel, we cut to Tony's bar, the camera dolls up to the end bar with Keitel holding a shot of liquor with that voice-over playing, in slow motion with the Stones' "Tell Me(Your Coming Back)" kicking in at just the right time, it's just...ELECTRIFYING. It has been said that Scorsese sourced all of the music from his own record collection (cool!) If weren't for Mean Streets, there would be no soundtracks from various artists in films.

Of course with a film that has no plot there's bound to be some dull bits, but are instantly forgiven because of the way the film is set up, it makes sense to have those dull bits to contrast with the electrifying bits. I mean can you imagine a film that has all of the excellent components I have mentioned above and not be an assault on the senses? It just works.

Thelma Schoonmaker, Martin Scorsese's current editor for many of (if not all of) his films in the last 20, 30 years, has said in interviews that it is Scorsese that should be credited for the editing in Raging Bull and Goodfellas. It's not hard to see why she would say this as the editing in Mean Streets is on par with that of most of all of Scorsese's other films.

As you will have probably already guessed, this film is brilliant, but many films are brilliant, what makes it special is that it was made on a budget of 100,000 dollars, with the cast being paid nothing and starting a beautiful between De Niro and Scorsese. It just goes to show how far religion, encouragement and music can go.

94%

I must admit, I was reluctant to see this film at first, but after I did, I was pleasantly surprised. I felt it was just going to be another Asian horror movie (a string of them have come out in cinema's recently that have all looked identical) but, as I have already stated, I was pleasantly surprised. The only reason I felt obliged to go was because of a review I had read in the excellent Hotdog magazine (5/5). You can tell from the opening that this was not going to be any other horror movie, I mean, how many opening sequences run over wallpaper and seemed interesting? The first couple of scenes really get you into the film, nothing that terrifying, just introductory scenes outlining the characters and showing the viewer the setting. However it is with these scenes that "A Tale of Two Sisters" achieves it's brilliance. It is done with such subtly and skill that you can't help but admire the way the director has done it. Not until later do we begin to become entertained by the excellent plot that will not only keep you guessing but actually makes sense in the end (unlike a few other of the latest Asian horror movies. Ju- on: The Grudge anybody?). To describe "A Tale of Two Sisters" simply as a horror movie would be an injustice to the director and the movie alike. It's the style and direction of the movie that puts it into a class of it's own. E.g. Towards the end, we have a great moment that wraps the film up nicely, BUT, it's the way that it's handled that put's it above the rest. The soundtrack playing over top of that scene coupled by the directors sense of timing and style just makes the film impossible not to love. The performances from all are top of the line (especially the two sisters) and the relationships between them are so well thought out and acted that you'll never see the end coming.

All in all top film (89%)

Putting Gozu into words is an act of futility, it's more of a dream when you watch it. Fans of Miike's work will find this movie surprising, it's more of a twisted comedy, a cross between There's Something About Mary and Lost Highway and so it turns out to be something of a rarity.

(MANY SPOILERS APPROACHING)

The movie starts of normally (bar the killer yakuza dog and the killer yakuza car). Our hero, Minami (a fairly decent performance from Hideki Stone considering all the weirdness) has been asked to kill the, quite frankly mad but likable, Ozaki. With no intention of doing so he accidentally "kills" him anyway and that's when our hero starts tumbling down the rabbit hole. With (and spoilers approaching) , the most bizarre "child"birth ever thought and the weird old lady who runs the hotel obsessed with her breasts, the dreams Minami has about the person with the cow head (Gozu means cow's head in Japanese), the talking vagina, the list is end less (not to mention the hilarious yet revolting death by ladle inserted into the anus)

Gozu is not a traditional film and is most definitely not mainstream, hell, it might not make any sense at all, but there is something about this film that makes you feel drawn to it, like a Lynch film, the director respects the audience and there is a certain charm you get from the film.

I enjoyed Gozu and when comparing it with other films in it's genre (whatever the hell genre it is), Lost Highway, Erazerhead and Blue Velvet, I feel it makes a worthy, if not necessary, addition to the world of film.

72%