Blow Out

A remarkable of suspense and paranoia, Brian De Palma's 1981 neo-noir thriller "Blow Out" is a cinematic tour de force that delves into the dark underbelly of American politics and the power of sound to manipulate reality.

John Travolta delivers a career-defining performance as Jack Terry, a disillusioned sound engineer. While recording audio for a low-budget horror film, he accidentally captures the sound of a real-life assassination. Obsessed with uncovering the truth, Jack embarks on a perilous journey that leads him into a labyrinth of political intrigue and corruption.

Nancy Allen is captivating as Sally, a mysterious woman who becomes entangled in Jack's quest. Their relationship is fraught with danger and uncertainty, as they navigate a world where trust is a rare commodity.

De Palma's masterful direction is evident, utilizing his signature Hitchcockian suspense techniques to create a palpable atmosphere of dread and paranoia.

"Blow Out" is an indictment of the political machinations that often operate behind the scenes, manipulating events for personal gain. The film's themes of paranoia, surveillance, and the manipulation of public perception remain as relevant today as they were in the 1980s.

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Cannonball Run

"The Cannonball Run" is a 1981 American action comedy film directed by Hal Needham and starring Burt Reynolds, Dom DeLuise, Jackie Chan, Roger Moore, Farrah Fawcett, and Jamie Farr. The film is about a cross-country race from Connecticut to California, with a prize of $1 million. 

The film was a box office success, grossing over $80 million in the United States and Canada. However, it received negative reviews from critics, who panned its humor, acting, and special effects. Despite its critical reception, The Cannonball Run has become a cult classic, and it has spawned two sequels, Cannonball Run II (1984) and Speed Zone (1989).

The film's plot is simple but effective. A group of eccentric racers from all walks of life enter the Cannonball Run, a cross-country race from Connecticut to California. The race is illegal, and the racers must evade the police and other obstacles along the way. The film is full of over-the-top action sequences, slapstick comedy, and cameos from celebrities.

The Cannonball Run is not exactly a highbrow film, and is more than a little dated in parts, but it is fun. The film is fast-paced and entertaining, and it features a likable cast of characters. The humor is juvenile, but effective.

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Duel

Steven Spielberg's directorial debut, Duel (1971), is a taut and suspenseful thriller that masterfully builds tension and keeps the audience on the edge of their seats. The film stars Dennis Weaver as David Mann, a mild-mannered businessman who finds himself engaged in a deadly game of cat and mouse with a menacing tanker truck driver. 

Mann is driving cross-country through the desert when he overtakes the tanker truck. The truck driver, who is never seen, responds by aggressively tailgating Mann and attempting to force him off the road. Mann tries to escape, but the truck driver relentlessly pursues him, using his large vehicle to terrorize and intimidate him.

Duel is a masterclass in suspense filmmaking. Spielberg uses a variety of techniques to create a sense of dread and impending doom, including close-ups of Mann's face, long shots of the desolate desert landscape, and the eerie sounds of the truck's engine and air horn.

Weaver gives an excellent performance as Mann, conveying his growing fear and desperation as the truck driver's pursuit escalates. The film's supporting cast is also excellent, including Jacqueline Scott as Mann's wife and Eddie Firestone as a gas station attendant who tries to help Mann.

Duel is a film that is both terrifying and exhilarating, and it is a testament to Spielberg's talent as a filmmaker, even with his earliest efforts.

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To Live and Die in L.A.

"To Live and Die in L.A." is a 1985 neo-noir crime thriller film directed by William Friedkin and written by Gerald Petievich. The film stars William Petersen as Richard Chance, an agent with the United States Secret Service, who is investigating a counterfeiting ring. Willem Dafoe stars as Eric "Rick" Masters, the leader of the counterfeiting ring.

The film is dripping in 1980s pop culture in its use of fashion, music, and technology. The characters wear clothes that are typical of the 1980s, such as oversized jackets, neon colors, and big hair. The film's soundtrack features music by Wang Chung, Falco, and The Fixx, all of which were popular bands in the 1980s. The film also uses technology that was cutting-edge in the 1980s, such as car phones and computers.

The period esthetics of To Live and Die in L.A. create a gritty and realistic atmosphere. The film's depiction of Los Angeles is dark and seedy, and the characters are often flawed and morally ambiguous.

The film's action sequences are also top-notch, and they are staged with a level of realism that is often missing from action films. The car chase in particular is one of the most memorable in recent memory.

To Live and Die in LA is a classic, bring your parachute pants and Members Only jacket!

Half a Loaf of Kung Fu

In the realm of early martial arts cinema, Jackie Chan's 1978 film "Half a Loaf of Kung Fu" stands as a delightful blend of slapstick comedy, acrobatic action, and endearingly flawed characters. The film follows the misadventures of Jiang, an inept but ambitious young man who stumbles upon a chance to impersonate a legendary martial arts hero. However, his lack of skill and knack for getting into trouble soon land him in a series of hilarious predicaments.

Chan's comedic timing and physical prowess shine through in this early showcase of his signature style. His pratfalls, acrobatic stunts, and expressive facial expressions are a constant source of amusement, and his ability to blend humor with martial arts action is evident throughout.

While the plot itself is relatively simple, it provides a solid foundation for the film's comedic set pieces and action sequences. Jiang's journey from hapless imposter to reluctant hero is filled with unexpected twists and turns, keeping the audience engaged from beginning to end.

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The Last Black Man in San Francisco

A24's "The Last Black Man in San Francisco" is a beautiful and moving film about gentrification, friendship, and the power of dreams. Jimmie Fails (Jimmie Fails) is a young black man and a beautiful Victorian house his grandfather owned, though his family was evicted from it years ago. Jimmie is determined to reclaim his home, and his quest leads him on a journey through the changing city of San Francisco.

The film is a love letter to San Francisco, but it also takes a hard look at the ways in which gentrification is displacing black and brown residents. Jimmie's story is one of many, and the film does a powerful job of showing the human cost of gentrification.

But The Last Black Man in San Francisco is more than just a film about gentrification. It is also a story about friendship, love, and dreams. Jimmie's friendship with Montgomery is one of the most heartwarming things about the film. The two men support each other through thick and thin, and their bond is unbreakable.

The film is beautifully shot and scored. The cinematography captures the beauty of San Francisco, from its iconic landmarks to its hidden gems. And the score by Emile Mosseri is both haunting and uplifting.

The Last Black Man in San Francisco is another A24 home run. It is a powerful and moving story about gentrification, friendship, history, and the power of dreams.

Fargo

Oh, yah, "Fargo", now that's a movie I can get behind. It's got everything: a good story, some great acting, and a whole lot of Minnesotan charm.

The Coen brothers, who wrote and directed the film, really capture the feel of small-town Minnesota. The setting is perfect, with its snowy landscapes and quiet streets. And the characters, well, they're just like us. They're friendly, polite, and they always have a hot dish on the stove.

But don't let the gentle exterior fool you. There's a dark underbelly to Fargo, and it's not afraid to come out and play. The movie is full of twists and turns, and it'll keep you guessing until the very end.

Frances McDormand is absolutely brilliant as Marge Gunderson, the pregnant police chief who's determined to solve a series of murders. She's tough, but she's also compassionate, and she's one of the most memorable characters in movie history.

William H. Macy is also great as Jerry Lundegaard, the hapless car salesman who's in way over his head. He's so desperate to get out of debt that he's willing to do crimes. 

Steve Buscemi is hilarious as Carl Showalter, the dim-witted kidnapper who's just trying to do his job.

The Coen brothers' direction is spot-on. They capture the bleak beauty of the Minnesota winter landscape perfectly, and they create a sense of suspense and dread that never lets up.

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Safety Not Guaranteed

"Safety Not Guaranteed" is a charming film that blends elements of comedy, romance, and science fiction. The film tells the story of Darius (Aubrey Plaza), a jaded magazine intern who is assigned to investigate a mysterious newspaper ad placed by a man named Kenneth (Mark Duplass) seeking a companion for a time travel experiment.

Darius is initially skeptical of Kenneth's claims, but she is intrigued by his eccentricities. Darius and Kenneth develop an unlikely bond as they explore the possibility of time travel and the deeper meaning of life.

"Safety Not Guaranteed" is a surprisingly poignant film that will appeal to fans of indie cinema and time travel. The film's performances are all excellent, with Plaza and Duplass giving particularly memorable turns as the two leads. The film's script is also sharp and witty, and the director, Colin Trevorrow, does a great job of creating a sense of mystery and intrigue.

The Trial

Orson Welles' adaptation of Franz Kafka's "The Trial" is a labyrinthine and nightmarish journey into the depths of bureaucracy and the absurdity of the modern world. Welles' visual style is perfectly suited to Kafka's material, creating a world of distorted perspectives and oppressive shadows. The film is a haunting and unforgettable experience, and it remains one of Welles' most ambitious and visionary works.

Kafka's novel is notoriously difficult to interpret, and Welles' film does not make things any easier. The film is full of symbolism and allegory, and it is up to the viewer to decide what it all means. However, there are a few key themes that emerge from the film.

One theme is the dehumanizing nature of bureaucracy. Josef K., the protagonist of the film, is arrested one morning without charge and thrown into a Kafkaesque legal system. He is never told what he is accused of, and he is unable to get anyone to give him a straight answer. The system is labyrinthine and incomprehensible, and K. is powerless to resist it.

K.'s trial is a sham, and the charges against him are never made clear. The system seems to exist for its own sake, and K. is simply a pawn in a larger game. The film is a powerful indictment of the modern world and its alienating and oppressive structures.

The film can be criticized for pacing problems, but Welles' visual style and the performances of the cast make the film more than worth watching. Anthony Perkins gives a particularly memorable performance as Josef K., conveying his character's growing sense of alienation and despair.

Orson Welles' The Trial is a challenging and rewarding film. It is a visually stunning and thought-provoking adaptation of Kafka's classic novel. The film is not for everyone, but it is sure to leave a lasting impression on those who see it.

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Devil in a Blue Dress

"Devil in a Blue Dress" is a neo-noir directed starring Denzel Washington, Jennifer Beals, and Tom Sizemore. The film is set in Los Angeles in 1948 and tells the story of Ezekiel "Easy" Rawlins, a World War II veteran who is struggling to make ends meet. Easy is hired by a mysterious white man to find a missing woman named Daphne Monet, who Easy soon discovers is involved in a complex web of political corruption and murder.

The film is a stylish and atmospheric thriller, with a strong sense of period and place. Franklin does a masterful job of recreating the look and feel of 1940s Los Angeles, from the smoky jazz clubs to the segregated neighborhoods. The film also features a number of memorable characters, including Easy, who is a complex and sympathetic protagonist.

Washington gives a star-making performance as Easy Rawlins. He is perfectly cast as the tough but principled, if reluctant, investigator. Beals is excellent as Daphne Monet, the femme fatale who draws Easy into a dangerous game. Sizemore is also good as the villainous DeWitt Albright.

The film's plot is complex but well-paced, with plenty of twists and turns. The film also portrays the racism and police corruption of 1940s Los Angeles. However, it never becomes heavy-handed, and it manages to maintain a sense of suspense and interest throughout.

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Police Story 3: Super Cop

Jackie Chan returns in top form as Inspector Ka-kui, a bumbling yet dedicated cop who always gets the job done (with a healthy dose of mayhem and destruction). His comedic timing is impeccable, and he manages to inject humor into even the most intense situations.

The Supercop films are legendary for death-defying stunts, all performed by Jackie Chan himself without the aid of CGI. Chan pushes the limits of human endurance and delivers some truly awe-inspiring action sequences. His blend of signature acrobatics, slapstick, and martial arts is on full display in Supercop. The fight choreography is inventive and exhilarating, showcasing Chan's incredible agility and comedic timing. 

Impressive stunts, hilarious moments, and genuine heart... While the plot isn't perfect, it's a crowd-pleaser.

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Police Story

"Police Story" is the Hong Kong action-comedy classic that launched Jackie Chan into international superstardom.

POW! WHAM! CRUNCH! Police Story is an aural assault in the best way possible. Punches land with meaty thuds, kicks connect with resounding snaps, and Jackie's trademark yelps as he takes a tumble or two become a hilarious leitmotif. Every crash, boom, and bone-crackling effect is perfectly timed and accentuated, making you wince (and laugh) in equal measure.

BOING! BOINK! BOINK! Amidst the bone-crushing, Jackie injects his signature slapstick comedy. From pratfalls that defy physics to elaborate gags involving props and scenery, Police Story never takes itself seriously. The sound design plays a crucial role here too, with goofy sound effects for every slip, slide, and pratfall, turning Jackie into a human cartoon come to life.

HONK! SCREECH! BOOM! The action sequences are where Police Story truly shines. Jackie Chan, known for his death-defying stunts performed without the aid of CGI or stunt doubles, throws himself into every fight scene and chase sequence with reckless abandon. From scaling shopping mall escalators to hanging precariously from a speeding bus, the stunts are as jaw-dropping as they are hilarious, the sound design that adds that extra layer of oomph to every punch, kick, and explosion.

JANGLE! CLINK! WHISTLE! The film also has a surprisingly sweet heart. The camaraderie between Jackie's character and his fellow cops is genuinely heartwarming, and the budding romance between Ka-Kui and his love interest, May, adds a touch of tenderness amidst the mayhem. Even the sound design reflects this, with gentle chimes and playful whistles punctuating the action scenes, reminding us that there's more to Police Story than just kicks and screams.

The raw energy and humor of "Police Story" remain timeless. It's a testament to Chan's talent and charisma that the film continues to entertain.

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The Manchurian Candidate

The 1962 film "The Manchurian Candidate" is a political thriller that explores the themes of brainwashing, political manipulation, and the loss of individual identity. The film tells the story of Ben Marco, a Korean War veteran who is brainwashed by communists and turned into a programmed assassin. Marco is manipulated as part of a conspiracy to kill a prominent political figure, and his actions threaten to throw the United States into chaos.

The film's exploration of brainwashing is particularly relevant in the context of the Cold War, when the fear of communism was widespread in the United States. The film suggests that brainwashing is a real and dangerous threat, and that it can be used to turn even the most loyal Americans against their own country.

Themes of political manipulation and the loss of individual identity are quite relevant to today's world we're we are constantly bombarded with information and messages from a variety of sources. It can be difficult to distinguish between truth and propaganda, and it is easy to become manipulated by those who are seeking to control our thoughts and actions.

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The Servant

There are many unusual aspects of the film "The Servant" (1963), but one of the most striking is the way it blurs the lines between master and servant. The film centers on a young, wealthy man named Hugo Barrett (Dirk Bogarde) who hires a new manservant, Robert (James Fox). As the story unfolds, it becomes clear that Robert is not a typical servant. He is intelligent, manipulative, and ambitious, and he quickly begins to exert control over Hugo's life.

In most films about servants, the servant is subservient to the master. But in "The Servant," it is the servant who is in control. This is made all the more unsettling by the fact that Hugo is a weak and indecisive man who is easily manipulated by Robert.

The film's unusual power dynamic emphasized by the fact that it is set in the upper class. In a world where social class is rigidly defined, the idea of a servant taking control of his master is almost unthinkable. But "The Servant" suggests that even in the most rigid social hierarchies, there is always room for subversion.

The film's unusual power dynamic is a reflection of the changing social order in the 1960s. The old aristocracy was in decline, and a new generation of people was rising to power. "The Servant" can be seen as a metaphor for this changing world, in which the old rules no longer apply.

"The Servant" is an exploration of class and identity. The film is set in the upper class, but it is far from a glamorous portrait of life at the top. Instead, the film shows the emptiness and decadence of the upper class. Hugo, despite his wealth and privilege, is a deeply unhappy and insecure man.

As the story unfolds, it explores the idea of the identity of Hugo in particular, a man who is unsure of who he is and is rather out of place in the modern world. He is nominally upper class but is constantly trying to prove his worth to others, and he is easily manipulated by those who flatter his ego. Robert, on the other hand, is a much more confident and self-assured man. He knows who he is and what he wants, and he is not afraid to go after it.

"The Servant" is a complex and challenging film that is open to a variety of interpretations. It is a film about class, identity, and the power of manipulation. It is a film about the changing social order of the 1960s.

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Lilies of the Field

In the heart of the Arizona desert, a humble handyman named Homer Smith (Sidney Poitier) embarks on a journey of unexpected benevolence in the 1963 film "Lilies of the Field." With a heart as warm as the sun and a spirit as resilient as the cactus, Homer finds himself drawn to a group of German nuns who are struggling to maintain their impoverished farm.

Despite his initial reluctance, Homer agrees to help the nuns build a chapel, a project that tests his physical strength and unwavering faith. As he works alongside the nuns, their cultural differences and language barriers fade away, replaced by a deep sense of respect and shared purpose.

Poitier's captivating performance as Homer delivers a powerful message of compassion and selflessness. His quiet dignity and unwavering commitment to helping others shine through, inspiring the nuns and the audience alike.

Director Ralph Nelson masterfully captures the stark beauty of the desert landscape, creating a backdrop that mirrors Homer's own rugged exterior. The film's gentle pace and understated dialogue allow the characters' emotions to resonate deeply, making it a poignant and heartwarming tale of human connection.

"Lilies of the Field" is a timeless classic that celebrates the transformative power of faith, kindness, and the indomitable human spirit. It reminds us that even the smallest acts of compassion can have a profound impact on others, leaving a legacy of hope and inspiration.

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Lucy

Luc Besson's 2014 film Lucy is a wild ride. It's a sci-fi action thriller that explores the nature of consciousness and the limits of human potential. It's also a mess.

The film's problem is its tone. It jumps back and forth between being a serious philosophical salad and a mindless action movie. This can be jarring and disorienting for the viewer.

Another problem is the film's pacing. The first half is slow and plodding, while the second half is rushed and chaotic. This makes it difficult for the viewer to get invested in the story, such as it is, or its characters.

Despite its flaws, Lucy is still an entertaining film. Scarlett Johansson gives a great performance as the titular character, and the action scenes are well-choreographed and exciting. Just don't use your entire brain while viewing.

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Carlito's Way

Penn's perm in Carlito's Way is particularly striking and memorable. It's out of place in the film's otherwise gritty and realistic setting. Penn's hair in the film was actually inspired by a picture in Life magazine of a law student at the time. However, viewers and some movie reviewers noted that he resembled Alan Dershowitz, who supposedly threatened litigation.

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