Reviews

After finding out a new Beach Boys documentary was going to be released this year I naturally got quite excited and looked forward to enjoying it. "The Beach Boys" is a pretty compelling documentary on the legendary band. Featuring interviews of the band members, their families, associates and fans including footage of home videos, live performances and the times the film chronicles a memorable and dramatic story of a trio of siblings who formed a band with friends and relatives and, seeing the potential their times and surroundings promised as a rich source of inspiration went on to fame and fortune with trials and tragedy serving as a dark counterbalance.

Beginning with a shaky start on an abrupt introduction to the Wilson household the doc charts the band's formation and their tapping of the popular surf craze in Southern California during the early - 1960s. With bassist, vocalist and main songwriter Brian Wilson emerging as a major songwriting and production talent the boys came up with a string of great songs that topped the charts which have since become classics and standards of Rock and Pop Music. The pressure of fame, drugs, competition from the other side of the pond led by four young and talented men from Liverpool and changing times brought the group's winning streak to a halt. A compilation album of their hits from their peak years hit #1 leading to a revival of the group's fortunes and they've been coasting on that success since.

From the start the flaws of the documentary are apparent. As mentioned above the film starts too immediately with the formation of the band without giving a necessary background to the band, their place and the times. The Beach Boys is one of the most influential bands in music history but only a scanty number of prominent figures are featured in the film to justify the band's important and enduring legacy. Don Was, Lindsey Buckingham and Janelle Monae (!) are the only notable figures included. Finally the film is too short with it ending in the '70s without including Brian Wilson's controversial relationship with his therapist at the time, Dennis and Carl Wilson's passing and the other major comeback they had with the huge hit "Kokomo". There's no final summary and conclusion to the band's inestimable legacy although it's nice to see the surviving members get together at the end of the film. This is one tribute that should have been at least another hour long.

Flawed but watchable, "The Beach Boys" is a good artifact of a great band, a great time and great music which is what it all boils down to. When snippets of the band's great tunes buoyed from the speakers I felt that instant automatic rush and high I always feel when I listen to their masterpieces. Watch this release and celebrate the power of art and music to uplift life and make it truly worth living.

A tale of identity and the blurring of the line that divides fantasy and reality, "Mulholland Drive" is a modern take on the Surreal/Experimental genres of film. Set in the balmy celebrity-ridden and driven glitz of Los Angeles the movie embodies the highs and lows of living in a world of illusion.

Naomi Watts is the centrepoint as she showcases her acting chops as Betty Elms, a cute and perky blonde fresh from Canada highly excited and gleefully anticipating her success in Hollywood. On her first day in the City of Angels she discovers with a jolt in her aunt's home a naked and alluring surprise that would lead her to a dark and winding road of suspense, conspiracy and sapphic release. Along the way the viewer is led into a world of perplexity and unreality where he finds himself grasping and trying to catch up with the film in the end. Equal ace quality and B-grade fumbling writer and director David Lynch presents a film that plays with conventional filmmaking only to upend it and his undeniably adept touch makes it work in the end. Naomi Watts and Laura Harring are among the most attractive female partnerships in film history, the former's blonde-top comeliness and the latter's ravenly brunette allure light-up and aestheticize the screen like no other.

While not the masterpiece film dorks would have you believe, "Mulholland Drive" is one of the most successful Experimental works on film and arguably the best. Mysterious, intriguing and sexy this is one for fans of female beauty and those with an open-mind in appreciating film and art.

A throwback to classic L. A. Noir of the Raymond Chandler mold, "Sugar" takes on the vintage genre and melds it with ease in the present. The tried and told tale of the world-weary private eye with a past is resurrected in stylish form in this compelling drama of intrigue, conspiracy, personal turmoil and hope for humanity.

Detective John Sugar is a man with a heart of gold whose life is haunted by a tragic event from his past. When tasked to find the missing granddaughter of a Hollywood mogul his search takes him on a professional and personal travail that engages emotionally or violently with a host of varied characters. As he gets deeper into the quest situations unravel that affect him personally as the job triggers deep and painful emotions that he can relate to leading to an ending with a twist that you may not see coming.

Colin Farrell is interesting as the aged and battered Sugar conveying the humanity and hurt of his skilled and troubled persona. The direction and supporting cast deliver and it's nice to see James Cromwell in action as a grand old man of film. The able cinematography gets the job done with its seamless depictions especially a sunny and windy palm-tree adorned L. A. with its cars and clear winding streets punctuated by its beaches and wide-spaced edifice-gapped tropical look and vibe.

With its frequent inclusion of Noir scenes from the genre's classic films, "Sugar" is both a tribute and starting point for the great and influential artistic movement and is one fans of the style and Crime and Drama in general should see. It's good to see gentlemanly toughness and cool back onscreen again.

A raw and direct gaze at the dark underbelly of society and human nature, "Happiness" is the complex and sordid reality that lies at the heart of man. Writer-Director Todd Solondz lays out his rage and disillusion at society as a whole in a humorous and straightforward attempt unearthing the hypocrisy that underlies day to day modern living.

A dysfunctional family sets the tone: parents whose relationship is winding down; an attractive and ambitious daughter whose claim to success is as flimsy as her capabilities with work and men; her eccentric sister who just can't seem to figure out life no matter how hard she tries; and their married sibling who "has it all" while harboring a predatorial pedophilic psychiatrist husband who's into young boys. On the periphery of this seedy and shady circle is an office cog dork who's addicted to sex and a big wallflower of a gal fronting a friendly persona that's as genuine as the murderous psychopathic streak concealed within. Lengthily trudging quietly in slow-burn fashion the dim lighting of the flick highlighting the seamy goings-on the film with able directing and acting delivers in its purpose the humor and unsettling nature that such topics reveal.

Although the film would have packed more of a punch with half the length, "Happiness" sure is a one-off in the field of cinema and art as a whole. Rib-ticklingly funny and unashamedly honest this is one flick that once you see you'll never forget.

A tale of star-crossed lovers caught in the whirlwind of romance in the mad rush of the big city, "Lonesome" is a charming and realistic take on the joy and sorrow of true love. Directed by Hungarian expatriate Paul Fejos and starring Glenn Tryon and Barbara Kent this part silent, part talkie, part B&W and part colored release is a madcap visual on Jazz Age exuberance and promise.

A working class man and woman find solitude and loneliness unbearable in New York City. Crossing paths one fine day, they interact and immediate attraction follows as they decide to spend the day together - going to the beach, having fun in a fair, etc., until playful fate intervenes where their hopes are put to the test. The film is mostly a fast-paced stream of images with many scenes superimposed on another and frequent multiple shots shown onscreen at the same time conveying the energy and high of modern urban life. The scenes of Roaring Twenties Manhattan are a delight and Barbara Kent's comely cuteness certainly helps. Although the simplicity and banality of the plot and the lack of scenes needed to convey the sadness and ache of the second half slow down the film the charming ending more than makes up for the film's shortcomings.

Included in the Library of Congress as one of the important films worth preserving, "Lonesome" depicts the timelessness of love in all its bittersweet drama and is one vintage flick that still holds up as it nears its century mark.

After recently reading the graphic novel I decided to see the movie adaptation and it turned out to be a surprising treat. Based on the comic by Alan Moore and Eddie Campbell, "From Hell" is a stylish and opulent adaptation that semi-fictionalizes the ghastly and nightmarish events that occurred in the Whitechapel Area of London in 1888. Featuring the star-led cast of Johnny Depp and Heather Graham the film probes on history, conspiracy and madness.

Johnny Depp is a youthful opium-sniffing, absinthe-imbibing chief inspector Frederick Abberline who leads the London Metropolitan Police in the case of the infamous Jack the Ripper, the psychopathic serial killer who unleashed a reign of terror on a terrified nation after gruesomely murdering five prostitutes deep in the bowels of Victorian London. Methodical, competent and supposedly psychic despite his mental haze Abberline step by step solves the case only to slam head-on into a conspiracy that's beyond his capacity to handle. With a varied cast of nobles, doctors, freemasons, prostitutes, cab drivers, police, street urchins and what have you late 19th Century London comes to life in all its complexity. The narrow, filthy and grimy streets of Whitechapel and its motley array of downtrodden inhabitants are colorfully depicted in all their smelly and impoverished states. The film doesn't shy away from the gore highlighting a clinical display of human organs and blood painting a portrait of the mind of a madman. While the cliched anti-rich and corny love story tropes snag a well-done film the movie overall is a highly watchable visual treat.

Perhaps the best film on Jack the Ripper, "From Hell" is a must watch for fans of history, true crime and well-made flicks. A decent commercial and critical success upon release and a lead-up to Johnny Depp's career-revival this is one not to miss.

Based on the novel "Perfect Blue: Complete Metamorphosis" (Pafekuto Buru: Kanzen Hentai) by Yoshikazu Takeuchi, "Perfect Blue" (Pafekuto Buru) is a Japanese animated flick that touches on adult themes like fame, mental illness, nudity, violence, sex and the entertainment industry. Director Satoshi Kon's directorial debut, the film is a pioneering and erratic take on animation tackling serious real-life matters.

A member of a second-tier all-girl J-Pop trio leaves the group and embarks on a newfound career as an actress. The future looks bright and promising as the young hopeful stars as an extra in a film starring an actress she admires. Strange things happen though as a stalker preys on her and her privacy while a phantasmic double haunts and mocks her. When people start dropping dead and the line between sanity and madness blurs the poor girl's grasp on her life and the world around her loosens with each passing of time.

An admirable attempt on taking a medium for children into untested mature paths, "Perfect Blue" inconsistently delivers. While watchable in its realistic depiction of true to life scenarios the dated, somewhat crude animation and clichéd tropes slow down what could have been a gripping edge of your seat ride. The lead character fails to elicit sympathy for her plight and instead earns a huge amount of annoyance and irritation from this viewer with her wide-eyed, "innocent" stare and overly girly voice typical of Japanese toons. I guess Japan has yet to catch up with the West in this particular field even with her Asian neighbor the Philippines the latter crafting the flawed but more impressive and effective "Trese" in recent times.

Regarded as one of the best animation films, "Perfect Blue" is a perfect example of a new style emerging in its growing pains. Don't believe the hype but watch it for the history and the effort.

One of the gems from the silent era, "The Crowd" is art at its most relevant and enduring. Filmed with an unknown cast, star director King Vidor co-wrote and directed this moving drama on man's odyssey called life.

A man hailing from privilege loses his father at a young age. Setting his sights on New York City, like many other hopefuls he dreams big and is self-assured attaining it is just a grasp away. While in the big city he meets a woman who would become his wife and together they take their chances on the Big Apple. Matters turn on an upswing with a big financial windfall for the man. Life suddenly looks bright until a swift tragic turn for the unthinkable worse sends everything crashing into an unbearable tailspin. From then on the tale takes on a gritty turn as scene after scene unfolds depicting the dejection and heartbreak a family undergoes and endures to cope and surmount their seemingly hopeless situation, all culminating in a memorable ending that rounds-up the movie that left no dry eyes with this reviewer. The first half of the film is lighthearted comedy that nearly frivolizes the urban reality the movie is trying to convey but the second half effaces the silliness of the first and grounds while at the same time elevates the film to an outstanding level. Vidor's skilled direction elicits impressive near-modern performances from the actors and the fine pace of the film adds to its contemporary appeal. The scenes of Jazz Age New York with its plethora of flappers, Fords and fedoras is a delight encapsulating a bygone era captured for posterity.

A decent commercial and critical success upon release, "The Crowd" was a strong and potent reminder of real life that mocked the delusions of the time and foreshadowed what was shortly to come. Stirring and unforgettable this vintage classic shows why art will always be essential and necessary. A must see for any film fan and those who value life itself.

A watchable documentary on what has been whispered for a long time but barely revealed and acknowledged in public when it comes to the film industry: child abuse. In five episodes, "Quiet on Set: The Dark Side of Kids TV" highlights the villains and victims in the sordid and sleazy world of children's television.

Interviewing media figures, former cast members and crew of once popular TV networks and shows like "Nickelodeon", "The Amanda Show", "All That", and "iCarly", etc., the documentary probes into unsettling detail the ordeal child actors and their parents went through to stay in the limelight and keep the money rollin'. The viewer is witness to the dark and shady world of perversity (including those shown on live TV no less), pedophilia and verbal abuse directed at the staff and even the children themselves in those shows. Also focused on is the disturbing trend of registered child sex offenders still being able to find jobs in kids' shows and how the law has yet to fully stop it. It's telling how obnoxious the people involved in the industry are for allowing themselves and the children around them to be abused for so long and considering how most if not all of those interviewed in the film lost their jobs and look awful one can see it was birds of a feather their being in that business and how karma truly got back at them.

A revealing eye-opener on what goes on in the glittery illusion called Tinseltown, "Quiet on the Set: The Dark Side of Kids TV" should get you questioning on what society aspires and looks up to. While a little too long this is one of the most important documentaries and is a must see for every parent and aspiring child planning to enter an industry as alluring as paradise itself and as infernal as the very depths of hell.

One of the classics in film history, "To Kill a Mockingbird" is art depicting life in its varied realities striking profoundly and movingly on the essence of being human. Based on the novel of the same name by Harper Lee the tale of a lawyer defending a black man in the deep South has resonated through time with its stirring portrayal and lessons on justice, race, prejudice, childhood and family.

Gregory Peck won Best Actor for his portrayal of Atticus Finch and he cut one of the most memorable characters in film history. Tall, spectacled, bookishly handsome and unerringly paternal and humane his patrician countenance and warm stoicness is the moral focus and foundation of the film. The film includes some of the best child acting captured on the silver screen and the children evoke the innocence and wonder of youth amidst the harsh and ugly realities of life. The able direction compelled strong performances from the entire cast and the film shot in black and white immerses it in a vintage feel that are fitting and complementary. Some of the most memorable scenes in movie history abound: Scout Finch's innocence thwarting a lynch mob; Tom Robinson's gripping trial; and Boo Radley's emergence at the end where the emotional chain of events unfolded so touchingly there were no dry eyes with this reviewer during and after it.

There are slow parts throughout the movie mirroring the small town country life the film is set in that drag the flick. And in these times one can cynically view this it as one of the precursors to the pc-multicult agenda prevalent in Western cinema. Considering the controversial and divisive subject of the movie made so by the politics of the present this is a film that will inevitably have its supporters and haters.

A huge commercial success and winner of numerous rewards, "To Kill a Mockingbird" is one of the rare occurrences when art and commerce succeed. A personal fave and one of filmdom's enduring masterpieces this is a must see for film fans and lovers of art in general. Essential.

Based on a novel of the same title by Edith Maude Hull, "The Sheik" is a Romance-Drama set in the vast desert sands of the Middle East. With it's intense portrayal of race, class, sex and adventure the movie departs from familiar themes of the time setting it on a class of its own creating its own trend that was to influence culture and society for decades to come.

A flighty and headstrong Englishwoman of noble rank seeks and insists on independence and adventure in the Arabian desert. Indifferent to protests of persuasion and concern she heads out to the wide open desert and is captured by a tribal chieftain (The Sheik) and is drawn to a world of fear and forbidden romance.

With its highly theatrical acting, slow pace and period sentiments "The Sheik" is an emblemic artifact of the time. Rudolph Valentino is the centrepoint and is the most compelling figure of the film. With his lean, lithe figure and exotically chiseled fine features his handsome visage and unique look set him apart from the cookie cutter stereotype of the Anglo-Saxon heartthrob. The impressive sets take one to the intense barren sands of the Arab lands and viewing them it's hard to believe they weren't shot in Saudi Arabia but in California instead.

Valentino became a legend and one of the silver screen's greatest heartthrobs and sex symbols with this flick. While there's no denying the man's more aesthetic attributes time hasn't been kind to his once powerful onscreen persona. Watching this now it's hard to believe women used to faint in theaters at the sight of him. And I don't know what he or the director or both of them were going for, but with his wide-eyed, leering character he looked more like a psychopathic serial rapist than a great lover that it's chuckle-inducing. With its depictions of dark-skinned men upping white women and salivating over them, references to the "civilized West and savage barbarians (the Arabs)", and a twist at the end involving the lead character that makes the film so comfortably reassuring, the movie is revealing on the politics and mindset of the time showing that human nature doesn't change only what the thought police tells it to do.

A huge commercial success that made Valentino a superstar and established his legend, "The Sheik" set trends and left an influence that still lasts to this day. While a lightweight Rom-Com and not particularly a highlight of the silent era its importance in the history and saga of film is paramount. A must see for history lovers and fans of the silents.

One of the most memorable films made and long regarded as one of the greatest films of all time, "Bicycle Thieves" (Ladri di biciclette) is considered the pinnacle of the fabled Italian Neorealism movement and one of the gems of the realist genre in cinema. In spare and simple depiction the film lays out real life as it really is.

A jobless man finds a livelihood in run-down post-war Italy and is lucky to grab one amidst a throng of less fortunate seekers. The catch? He needs a bicycle which he doesn't have. In despair he considers everything lost until his resourceful wife comes up with an idea and the bike is procured. Things go swell shortly afterwards and life seems to be on the upswing when playful fate with its merciless hand deals the poor man a crushing blow.

The backdrop of the film is just as interesting as the movie itself. To capture the true to life portrayal of the flick director Vittorio De Sica cast non-actors for the movie with some of the leads straight from the masses themselves. It's a testament to De Sica's directorial skills that he was able bring out convincing performances: with his working class good looks and lean, angular frame lead actor Lamberto Maggiorani (a factory worker at the time) elicits admiration and sympathy with his tough and vulnerable persona as the hard luck man desperately trying to get his due. The charming and plucky Enzo Staiola (who was discovered with his father while selling flowers on the street) plays his empathic and self-willed son in one of the most impressive performances by a child on film. And the comely Lianella Carrell provides aesthetics of the female kind and moral and practical support as the tough and hands-on wife. While slow in some parts the film's twist at the end, open ending and overall message will leave a mark that few films do.

One of the classics of real life dramas in the line of "Manila at the Claws of Light" and "The Company Men" this successful recreation on the silver screen of the plight of the working class and overall the challenges in life everyone goes through is a must see for any film fan and student of people and life in general. A work of art that once witnessed will stay with you for life.

A tale of family, loyalty, revenge and the age old battle between good and evil, "Dune: Part Two" is an epic drama set in a timeless world between fantasy and our own.

An outsider of noble lineage ingratiates himself into a tribe of warriors. Seeking revenge against the injuries inflicted on his family he gains the trust of his newfound companions and trains and prepares in leading the people in his war against the dark side. Along the way he finds love, friendship and learns the virtues of trust and camaraderie.

A cross between "Star Wars" and "Mad Max" this sandy behemoth is an action-packed visual panorama. With the endless desert as open canvas the colossal narrative of war, religion, politics, intrigue and interpersonal relationships play out their roles. An all-star cast including Timothée Chalamet, Austin Butler, Javier Bardem, Christopher Walken, Josh Brolin and Rebecca Ferguson add distinction and quality with their solid performances and the rest of the cast add competent support. The special effects are well done even breathtaking in parts with every scene executed to proper use, nothing more, nothing less. The battle scenes are brief and efficient, never overstaying their welcome while highlighting their brisk and riveting scenes. The standouts are clearly Timothée Chalamet and Austin Butler, the former his handsome, amiable and seemingly vulnerable countenance belie the inner strength and resolution of his role; while the latter is eerily ominous with his reptilian sense of wonder and hissing evil.

The flaws are immediately apparent. A number of people online have complained that they couldn't follow the story. Unless one wants to get anal about it the film is immediately comprehensible in its conventional tale although it could have been simplified to make the film less vague and less reliant on the novels they're based from. Clocking in at nearly three hours the film could have been trimmed down to make it more consistent and punchier. I found myself dozing off a number of times in the middle of it. Of course, being 2024, you've got your ubiquitous pc-multicult insertions peppered throughout the flick. And lesser irks are there like Zendaya's ugly, scowling face and Dave Bautista's seeming inability to act.

While not on the level of the first "Star Wars" trilogy or "The Lord of the Rings" series, "Dune: Part Two" is one of the finest Sci-Fi flicks and is one film and Sci-Fi fans should see. While not quite worthy of the hype you'd be at a loss not to see this especially on the big screen. I look forward to the next installment.

A modern Western, "No Country for Old Men" rolls with the genre's formula while trips on it along the way. Set in 1980 Texas, the film from the start gets you going with them cowboy hats, sheriffs, a murder and drawls as endless as the Mississippi river is long.

With a gift only the devil can provide, a grifting lover hits the jackpot on a drug deal gone down the skids and fetches a whole lot of money. The catch is a psychopathic killer who's as smooth as the empty portion of his brain where his conscience should have been, a bounty hunter who's seen it all, and a sheriff nearing retirement with enough baggage and skeletons who just might get the job done.

With gorgeous scenery (Kerouac's "vast American landscape") serving as stirring contrast to the bile-inducing grotesqueries in store, the film is a doozy panoramic sweep of small town American life with blood and gunshots. Good acting and the complementary direction make this unhinged pastoral naturally going particularly with Javier Bardem. His portrayal of the rib-tickling and chilling Anton Chigurrh is one of the most memorable in filmdom: with his bad hair, deadpan delivery, effortless ruthlessness and rage-filled core he defines evil at its most raw and real. The ace cinematography, with its perfect captures and microscopic highlights capture the nuance and subtlety of the tense and foreboding scenarios elevate the senses with the nerves particularly the ones victimized the most.

Remember, this is a Western, so this good ol' boy is slowwwwww. As glacial as the Southern accents in profusion minus the charm, the empty spaces throughout the flick are as wide and expansive as the terrain the film covers, so wide and open you can hear your heart beat. This film is good, but not as good as they blurt it out to be. It's a Western. And it's slowwwwwww.

A big critical and commercial hit with Javier Bardem winning an award for Best Supporting Actor even if he's one of the lead characters in the film, "No Country for Old Men" is perhaps the best Western made and is quite the watch. Southern Gothic at its best: brutal, dark, and bloody.

Taking on a crucial period in Reggae legend Bob Marley's life, "Bob Marley: One Love" gives the viewer a view into the world of Jamaica, politics, music and the life of a man. With the scenic tropical backdrop of the Caribbean and cold, grey Europe the film is host to political turmoil, assassination, familial relations and great music.

With good pacing and solid acting the viewer sees through the world of Marley as he emerges from the obscurity of the Third World into international stardom and the triumphs and challenges that come along with it. One of the highlights of the film is the focus on music. Unlike many music documentaries and bioflicks where the music is lost in the narrative the movie focuses on Marley's naturalness as a singer, songwriter and musician. His songwriting gift, his interaction with his bandmates and his wife, his recording sessions and his live experiences are at the forefront of the movie.

Unfortunately the film hits a loud thud where it matters the most. Kingsley Ben-Adir is handsome and charming but fails to capture the real Bob Marley's ebullience and innate optimism, the sparkle in his eye that mirrored his idealism which fuelled the creation of many of his greatest songs. It reminds me of Bradley Cooper's excellent portrayal of Leonard Bernstein in "Maestro" and highlights Ben-Adir's miscast placing. The film should have really been about Marley's entire life and should have been a chronological journey from his youth to his passing. Marley's life was one of the most interesting in music and a figure as important and as singular as he deserved nothing less.

One of the finest films on music, "Bob Marley: One Love" celebrates the life and legacy of a man who is the embodiment of his music and became the hero of his nation. Reggae, music and film fans will dig this.

A loose, informal-looking document of a time and place and the idiosyncratic music they served as backdrop to, "Meet Me in the Bathroom" is a glimpse into the Rock music scene of New York City at the turn of the century. Amidst the reality of Y2K, 9/11, Napster and George W. Bush Jr. The film shows how long dead Rock n' Roll came to life in the Big Apple when bands like The Strokes, Interpol, LCD Soundystem, Yeah Yeah Yeahs and a host of others kept a dying genre in life support by creating some of the most eclectic and compelling music in all of music.

Filled with interviews from the bands themselves and their associates and archival footage this takes one back to that cold, chilly and impersonal time. From the sensational hype-driven attention given to the scene-igniting and influential Strokes to the rare female-fronted act of Yeah Yeah Yeahs, the Dance-Electronic punkisms of LCD Soundsystem and the soulful experimentalism of TV on the Radio, on to the Anti-Folk quirkiness of The Moldy Peaches to the rocking danceability of The Rapture and the cool distant approach of Interpol the movie features a constellation of young hopefuls whose talents coalesced into a particular age and era when NU Metal and Hip-Hop dominated the global music scene, music that were the opposite of what they were doing, these underrated luminaries toiling and creating in a time that neither cared about them nor gave them their due.

While watchable the film lacks perspective on what truly matter. A good chronological backdrop on the history of the New York Rock scene would have fleshed this out more and would have given more of an understanding on what the bands featured have done and what they accomplished. And most of all and what the filmmakers glaringly missed which is what the film is basically about: the music! Too much emphasis is given on the personalities involved that the main reason why they even got to be featured here is sidelined and how good even great the music actually is.

Based on journalist Lizzy Goodman's tome of the same name, "Meet Me in the Bathroom" is a celebration of Gen X's and New York Rock's final hurrah before fading into the eventual eclipse of time and memory. A tribute to a great artistic legacy and a great city this is one Rock fans should see.

A standout silent and Fritz Lang's masterpiece, "Dr. Mabuse the Gambler" (Dr. Mabuse, der Spieler) is an epic four hour Crime-Drama that never lets up in its dark telling of the age old battle between good and evil. Based on the novel "Doctor Mabuse" by Norbert Jacques, the film was written by director Fritz Lang and his soon to be wife Thea von Harbou and was originally split into two parts when first shown in public the two parts shown a month apart.

A criminal mastermind and master of disguise with hypnotic powers uses his malevolent talents to manipulate the stock market and hypnotize wealthy victims into doing his will. All comes to fierce opposition when an equally talented and determined officer of the law challenges the arch criminal in an epic game of cat and mouse where the two battle it out using their wits and resources to see themselves through.

Solid direction, generally modern acting where the theatrics of the time are admirably kept to a minimum, an impressive pace considering the length of the film and a sterling consistency elevate this silent film triumph above its peers. And the beauty of the lead actresses add aesthetic ornament; their strikingly modern visages transcending time.

The only snag to this gem is its lengthy time run. While highly watchable considering the format and its age the film does run out of steam in parts at the second half. Had the movie been shorter by half it would have made it more conventional but it would have given it a bit more punch. This is better than its other lauded contemporaries like "Nosferatu" and "Metropolis" but this 4 hour behemoth may be too much for a lot of modern viewers and deter them from seeing this and may explain why the other mentioned films are more highly regarded.

Seen as social commentary on Germany at the time and in hindsight what was to come, "Dr. Mabuse the Gambler" is a silent classic and the masterpiece of German Expressionism whose quality and able tackling of modern urban society elevate it to artistic quality and timeless relevance. A must see for silent film fans, film historians and open-minded conoisseurs of art.

A modern take on Mary Shelley's "Frankenstein" based on Alasdair Gray's novel of the same name, "Poor Things" is a millennial take on the topics of science, culture and sexuality. Opulently ugly and over the top, corniness and watchability go hand in hand in this boudoir-bedecked romp.

In Victorian London an unhappily married woman makes a fatal decision that leads to a chain of events that she would have never foreseen even in the depths of her bottomless misery. Thanks to the wonders of science she emerges as an automaton ripe for the world's abuse and picking. With this wonderful foundation the film is used to criticize society, religion, and the patriarchy. Willem Dafoe, Emma Stone and Mark Ruffalo do their share in earning their hefty paychecks while the rest of the cast follow through. The odd camera shots, weird angles, absurdist dialogues and somewhat dreamlike, unreal settings create a messy foray into this period piece smudged in between cheap German Expressionism and barely there Steampunk.

With the description above I don't have to go through the flaws of the film in much detail. I don't know what they were going for but if Emma Stone was suppose to come across as some soulless robot then she should stick to her Rom-Com job. As one of my Hollywood crushes it was a treat to see her nude and in numerous scenes of copulation and in the throes of orgasm but for this kind of film the sex was too much. Either the ones responsible had too much of it in their minds or they felt it was needed to keep people watching in this pretty tedious and overlong two hour flick the huff puff - bang bangs just made the film a bit too tacky and off to be right. I think it was a misguided choice for Emma Stone to reveal too much here. As one of the established actors in Hollywood this film may damage her reputation and cast a slight upon her and her future prospects. This is the kind of lead role an up and coming actress with nothing to lose can take and is very much one Stone could have passed over. And with your typical pc-feminist tripes tacked on board you've been warned.

Tacky but funny and watchable, "Poor Things" utilizes its star power to serve its contemporary agenda and falls flat yet still entertains. Flawed and pretty much insubstantial it's still worth the watch for the tradition it maintains which its politics tries hard to undermine.

Football is the most popular game in the world. Beloved by billions, few know of its fascinating and rowdy origins in 19th Century Britain. Man kicking a ball for sport has been going on for millennia but the modern sport as we know it was created by a small and snobby group of aristocrats in Victorian England. "The English Game" is the compelling depiction of the game's stuffy origins to its emergence in Britain when people of all classes embraced the game as their own.

A seamless blend of history and fiction the TV miniseries chronicles the drama of individuals from opposite sides of the social scale and their tense relationships as the game became too big for anyone to handle. With good acting and strikingly attractive scenery that places this period piece in visual aesthetics the film touches on the common themes of man like class, friendship, loyalty, romance, family and sportsmanship in natural progression. While the usual bane of pc insertions grate on one's sensibilities and there's more drama than Football overall the film highlights the class divide and the uniting factor of sport very well from start to finish.

One of the best television shows of recent times, "The English Game" is a riveting portrayal of an age and a sport that altered and unified the world like no other pastime since. A must watch for film and history fans.

Another entry into the growing list of commendable historical films to emerge from the Philippines in recent times, "GomBurZa" is historical drama filmed in elegance and solemnity. The trial and execution of Mariano Gomes, José Burgos and Jacinto Zamora, Philippine Catholic priests unjustly accused of rebellion against Spain during the latter's colonial occupation of the Philippines was the trigger that led to the revolution that would oust the Spaniards from the country. Led by a solid cast including veteran actor Dante Rivero, film heartthrob Piolo Pascual and cinema mainstays Cedrick Juan and Enchong Dee the film depicts in tones of dark hue the abuse Filipinos underwent from the Spanish priesthood and the growing, simmering unrest that would ignite into full rebellion. The period piece offers a fine glimpse of 19th Century tropical colonial life.

While well-paced and well-acted the steady, gradual build-up of the movie leads to slow parts spotted throughout the film. While the film very much gets to the point from the get-go this is the kind of film that works best when it ditches the chaff and cuts to the chase all throughout zooming straight to the climax. Historical accuracy is also put into question in some instances. The Spanish friars in the film don't look much like Spaniards and they resemble more mixed-race locals and Filipinos. The local language used is questionable as many words used smack more of contemporary vernacular rather than mid-19th Century Tagalog.

A success in art and a call and reminder to patriotism, "GomBurZa" shows and highlights the importance of unity in culture, race and nationhood. A veritable reminder through art that a nation is it's own living, breathing unique self that has its own path to travel and no exterior, outside influence has the right to interfere with it's destiny and calling.

An amusing and sordid tale of wealth, privilege and tragedy, "Saltburn" is a penetrative and voyeuristic glimpse into the genteel and eccentric world of the rich where knaivete and smugness go hand in hand like two stones rubbed at each other.

An ugly, middle class closeted homosexual is a top scholar who finds himself a slot in Oxford University. Awkward and out of place amidst his wealthier and better-looking peers he becomes besotted with a handsome aristocrat and strikes a friendship with him. When news arrives of his father's "passing" the pretty boy scion invites him over to his family estate. If he only knew.

A cross between Patricia Highsmith's "The Talented Mr. Ripley" and Philippe Besson's "Lie with Me" the film takes one on a panoramic view of plush surroundings and complicated relationships. Solid directing and consistently good acting make this riveting thriller of manipulation and deceit a transfixing one, where evil is not served bluntly but slyly with an ugly smile.

One of the finest films made and one of the standouts of recent times, "Saltburn" reminds us the price of illusion is steep and reality is the great leveller. Although decadent in it's overall unreality and another anti-rich flick anyone who has mingled with the upper-class will recognize the plight of the privileged unknowing in this barbed take. Think the rich have it too good? Watch and see.

An impressive tale of art and true love, "Maestro" conducts in sweeping fashion the romance between renowned composer Leonard Bernstein and his wife actress Felicia Montealegre. Chronicling in stylish B & W the couple's idyllic early years then switching to color in the pair's troubled middle age scene after scene is a compelling look at the world of Classical Music and the upper echelons of 20th Century American society. Bradley Cooper stars and directs and shines as Bernstein portraying the man in uncanny likeness revealing Bernstein's idealism, talent and sexual ambiguity. Carey Mulligan is at her best as Montealegre providing the perfect chemistry with Cooper as she depicts Bernstein's muse with all the strength and pathos a suffering woman endures. Their performances are among the most admirable displays of natural acting that the sheer sweep of their cinematic mastery can be breathtaking. With a strong supporting cast, fine soundtrack and complementary script the film is one of the finest ever made and one of the standouts of contemporary cinema.

A tribute to a musical legend and a celebration of art and an age, "Maestro" is Old School filmmaking with a modern touch resurrecting the heart and soul film is capable of projecting and touches on matters that are the deepest and most important in life. A must see.

Currently reading a biography on Jim Morrison it sparked my interest on Tom Baker, his drinking buddy and one of the more interesting cult figures in American cinema. Actor, writer, director and producer, Baker cut quite an interesting path in the film underground. With "I, a Man", perhaps his best known film, Baker is at his peak in all his becoming and wasted glory.

Inspired to make their own version and response to the influential Scandinavian flick, "I, a Woman", Pop artist Andy Warhol and underground filmmaker Paul Morrissey fleshed out "I, a Man", a slice of life depiction on a male prostitute and his experiences on the job. Baker plays himself as the hustler for hire and the film is all about him blabbing and romancing a number of women. What makes the film fascinating is the mundane discussions that mirror any discussion that goes on around the world between men and women in the confines of the bedroom. The fly on the wall, voyeuristic gaze on these real life intimacies is art as life and the documentary approach Warhol and Morrissey are known for created some of the more watchable amateur flicks in cinema history. A number of the "Warhol Superstars" appear and it's good to see the likes of Ingrid Superstar and Ultra Violet in their prime. Seeing Valerie Solanas is intriguing and quite unsettling. The highlight of the film may be seeing Nico and Tom Baker in their memorable scene, their striking good looks adorning the film as one of the most aesthetic couples to grace the silver screen. The very definition of an acquired taste, this crude and talky lo-fi exercise on erotic amateurism will be risible or trying or both to most but to those who want their art to show life as it is then this is one to view.

An interesting look at a fascinating time and vibrant artistic scene, "I, a Man" is an enduring artifact of an age of innovation and change that profoundly altered and shaped the modern era. One of the notable culties, this is one for those who appreciate something different.

A tale of drama, tragedy and danger at high speed, "Ferrari" is a glimpse at a time in Enzo Ferrari's life where his personal and professional life were in turmoil what with infidelity, business troubles and deaths plaguing his dreams of racing glory. Based on the book "Enzo Ferrari: The Man, the Cars, the Races, the Machine" by Brock Yates the film takes on the challenges faced by the icon as he navigates his perilous course through destiny.

Adam Driver stars as the racing legend portraying him as a tall and gangly poker-faced boss kowtowed by his women and who encourages and disparages his people in turn. Penélope Cruz plays his tough, no nonsense wife who milks her long suffering relationship with her husband for all its difficult worth. Shailene Woodley is his patient and dutiful mistress while a cast of reporters, racers and celebrities pay court to the legend. While no classic and nothing particularly outstanding the movie is a fascinating look at the world of big business, the racing industry and the life and mind of a man living at a pinnacle of power.

Founder of one of the most popular and most revered automobiles in history, Enzo Ferrari is one of the most interesting personalities in history and "Ferrari" gives a good idea why. This is a fine, simple and direct film that every racing enthusiast and film fan wouldn't mind seeing.

Lovely, simple and well done, just like the album itself, "The Kinks: Echoes of a World" is a moving and inspiring documentary on Rock legend The Kinks greatest album, "The Kinks are the Village Green Preservation Society". Released in the turbulent and vastly changing year of 1968 The Kinks' masterpiece flew in the face of trends and celebrated the past in profoundly memorable and inspiring songcraft. Greeted with indifference the album was a flop in both Britain and America but has grown in stature and influence and has since been regarded as one of the greatest Rock albums of all time.

Kicking off to the origins of the group's loud and trailblazing career the documentary features footage of the band's live performances from the time. The highlight of the doc are the interviews and they're a treat. The interviews of the band members and musical luminaries like Noel Gallagher, Graham Coxon, Natalie Merchant, Graham "Suggs" McPherson, Andy Partridge, Paul Weller and others on the deep impact the music had on them are stirring and inspiring. The film goes track by track on the discussion of some of those great songs and there's an added treat of seeing the art work of some of those interviewed on particular songs shown. A few snags surface. Not all of the songs are discussed which is a shame on an "all killer, no filler" album like this. It's quite a void not to have Billie Joe Armstrong interviewed as he's one of the stars very much influenced by The Kinks and has ripped them off considerably to the top of the charts and into the banks. The unknown actor who plays a young Ray Davies at the time and who looks nothing like him is a real tack-on that defines the term "misstep".

One of the finest Rock documentaries, "The Kinks: Echoes of a World" is a celebration on Ray Davies' artistry and the power of art to change lives and actually make life worth living. After this go give "The Kinks are the Village Green Preservation Society" a listen and immerse and lose yourself into a world of musical paradise and bliss the likes you'll rarely come across in this life. "Yes people often change, but memories of people can remain".