FilmMattic

Creative Coup d'etat...Maybe?       Like all great, or once-great properties that have come before it, Star Wars has been seized by the mechanisms of commerce and vicissitudes of time. Disney, the ubiquitous merchant of magic, which for some is now an unbecoming title—well, the magic part at least—is the new owner of that cherished timespace. While its current profile inspires neither uniform applause nor outright derision, Disney's capacity for magnificence is uncontested. With a catalog of films that stretches as far back as  Snow White and the Seven Dwarfs , the first full-length traditional animated feature in motion picture history, Disney has demonstrated time-and-again an ability to sustain feelings of wonder and awe, and a primal adeptness in the management of story and fantasy. These statements spotlight a reputation that is owed primarily to its founder, Walt Disney, a brilliant visionary who carved a lineage that is steeped in fantastical...

These Go To Eleven...111!        Those who frequent my blog may wonder where in the hell have I been. But I like to maintain mystery in the digital world. I am not Amish; not that there's anything wrong with that (is it not a coincidence that Peter Weir's Witness features in this edition...). And I don't practice the Thoreau method. What I do is rigorously follow the wisdom of Wooderson from  Dazed and Confused . "Living man, L-I-V-I-N!" Such an answer is perfunctory, I know. I am quite the cyber obscurest. All you need to know is that I am having fun and working hard. It is my social networking duty, first and foremost, to keep that perpetually curious aura alive. 

The Best of the Worst       Part I of my "Top 10 Least Favorite Movie CHARACTERS"  can be found by clicking the above link.         I suppose I'll have to choose my words carefully. Chuck Norris is watching. I'll oblige only because Bruce Lee's reincarnated-self is not here to protect me.        These characters are the vermin of cinema. But they are the best vermin, contaminating the world, charmingly, one evil at a time. They are simply too good at being bad. While their actions, behavior, and generally their outlook on life is morally objectionable and admittedly terrifying, their determination and affinity for destruction is captivating.         Evil is not the prerequisite, but its very existence is crucial to my ultimate aversion to these characters.  So, I urge you to tread cautiously. Trading glances with individuals so miserably appalling is known to ...

Love to Hate       Let's face it. We are wired to dislike certain people. Human nature assures us there's a line to be crossed between that which we deem admirable and that which we deride gleefully. Movies are no different. The characters who inhabit these tantalizing worlds solidify our diametric ideological curiosities. And I'm most curious about the disreputable. Therefore, in this post, I will identify my "Top 10 Least Favorite Movie Characters."        Common themes you may discover are the false representation of power, the willful subjugation of powerless figures, betrayal, cowardice, fraudulent ethics, deception, malfeasance, and of no less importance, obnoxious personalities.        These characters are despicable. The actors are not. In no way is it my objective to denigrate the work of these performers. In fact only great performances qualify for my list. It's not the performance...

Because 99 Is Too Few and 101 Is Too Many         I'm jubilant. The idea that I can even cultivate a list of 100 directors, stretching from the silent era to present-day, from pioneers to pop-culture pragmatists, brings me great elation. These are directors whose work nourishes my cinematic education, whose talents I've increasingly come to admire.        I'm a fairly disciplined and autonomous thinker. I've been told routinely that I'm a champion of vim and vigor, of which my ethic is tethered inextricably. The reason, I suppose, is that I tend to excel only in areas where my interests lie aggressively and most authentically; a rather simple principle to guide one's ambitions, correct? Well, film is my cornerstone passion. It has been for as long as I can remember. In the last two-to-three years, coinciding with the genesis of this very blog, my indoctrination has grown even more radically—an inexorable pursuit that is not...

Ain't No Monty High Enough       " The Ten Best Actors of All-Time Relay Race" rivals the Summer Olympics, exceeds the popularity of the NBA Finals, and portends this year's Presidential Election results. Where else could man venture to achieve such prestige? What institution has a greater collection of talent? The answer is nowhere unless nowhere is code for My Film Views , the mastermind of said blog-a-thon. Or the lovely Melissa Bradley , whose willingness to enlist the tenuous wisdom of yours truly is responsible for my participation.

The Intersection of Film and Life: Part II       This is Part II of my "Top Five Things I Learned From The Movies." Part I can be found here . 

The Intersection of Film and Life: Part I       Any Top Five that invokes the "Things I Learned" refrain has to at least mention Stanley Kubrick. Without Mr. K, future generations of Americans would never know how to cease worrying about the "bomb." In all seriousness though, "The Top Five Things I Learned From The Movies" is one of my more intimate ruminations, focusing squarely on the cinematic landscape...of course!

The Apex of AFI        The time to anoint the twenty-five best films in MY AFI 100 has finally arrived. So anticipated was this final unveil that the Silent Chorus of Expectations can now rejoice. This, the culmination of extensive Amazon purchases, was not ill-advised. With one-hundred and twenty-three titles vying for inclusion, there was no shortage of deliberation.       Keen readers will observe some audacious reshuffling. But this is a personal list, one that reflects the depths of my idiosyncratic tastes. I am if nothing else an eclectic purveyor of film and these twenty-five films fiercely reflect that sentiment.       I will not hesitate to summon the Hulk if disagreements emerge. I'm being cheeky of course. I encourage debate. Now, please enjoy!       *P.S. I expect to revisit these posts in the future, intermittently I presume, with the intention of contributing some minut...

A Network of Classics       Keep on, Keepin' on!~ And just as a brief reminder, I'm planning to update these posts intermittently as I expand my blog. Please do not be alarmed by the lack of written content for the majority of my selections. My only real intention at this point is to display without illustration or demonstration which films in the two-AFI 100 editions comprise my own. Eventually, and perhaps sporadically, I'll elucidate on why I chose this film and why said film is ranked where it is. Remember, twenty-three films missed the cut and I've undergone quite extensive revisionism to produce my list.

Greatness Lies Ahead       Stellar terrain is within grasp. We're moving from A New Hope to Empire Strikes Back, from Magic to MJ, from greatness to extreme greatness. We have officially touched down in the "Mere Mortals Do Not Reside Here" district, so take a good look at your neighbors, all fifty of 'em, and feel free to engage your inner Mr. Curious.

Keep On Filin', The Whole World's Filin' At You        And so my reconstruction of the AFI 100 continues with numbers 75-51 ...  

The Filed Bunch        One of my cherished cinematic endeavors, besides firing up the 81' DeLorean and cruising back through time to the Roaring Twenties, was watching every film from the American Film Institute's 100 Years...100 Movies list (both the 1998 and 2007 editions) . Well, I am pleased to announce—and yes, Dubya, this next statement is irrefutable: Mission Accomplished!        That euphoric acknowledgement meant that  I had to allocate time for 123 separate viewings. I breath film, so it was rather undemanding.        Mission number two concerned my evaluation of the AFI's two lists. I ranked the films according to my own criteria, a more personalized touch if you will. By the logic of numbers, twenty-three films missed the cut.        The AFI 100 celebrated the first century of American cinema; the 10th Anniversary Edition (2007) extended into the early aughts (well, n...

Silent Film Edition: Part III       D.W. Griffith and F.W. Murnau, two names featured prominently in my blog, are titans of cinema's past. The purpose of highlighting their work; therefore, is to underline their importance, to inspire an interest however mild in their exceptional work. Any film buff could comfortably laud their accomplishments. Such a statement presupposes that every consumer of film is desirous of the "buff" distinction. The box office receipts for films like Jack and Jill and New Year's Eve  confirm my suspicions that a voracious awareness of film history, for the average moviegoer, is unnecessary. Well, I am not the average moviegoer. And I'm here to tell you, loyal readers who frequent my blog, neither are you. My commentary presumes your attentiveness for, yes, cinema's history. Presumptuous as it may be, this Silent Film segment, which will continue in perpetuity, is designed to fulfill your curiosities. W...

Silent Film Edition: Part II       In Part II of my Silent Film Marathon, I discuss two groundbreaking German films, their style reflective of the highly influential German Expressionist movement and their function emblematic of the horror/surreal/fantasy genres. Enjoy. And please feel free to impart some wisdom below. I'm eager to engage discussion. 

Pain Don't Hurt              In the unlikely chance you were pining for some kind of bizarre visual illustration which illuminates the reasons for my blog's existence, then I ask you to look no further than the mash-up below. After all, the first two sentences in my blog's bio were born from inspiration provided by this clip (and more specifically, the aroma of badass).        As I stated on Twitter , after watching this clip, "palms will sweat, fists will clench, and you'll hardly be able to fight the urge to check for marks." I can say, as with any great apocryphal story, the clip's effects, gleamed from my unofficial study, are likely to include nausea, euphoria, phantasmagoria, and any combination therein. Now, behold the latest Internet phenomenon and FIGHT THE POWER!  Thank you, Red Letter Media!

Spider-Man's Coming To Dinner. Why is He A-May-Zingly Grace-Less?       Languid would be the adjective that properly encapsulates my expectation level for The Amazing Spider-Man. It is a reaction I can exaggeratedly equate to a convulsion: Neither violent nor humorous but a reaction wrought with uncertainty. For a visual manifestation, recall the look of disbelief on Spencer Tracy's face in Guess Who's Coming to Dinner,  when he realized his beloved daughter, Joanna (played by Katharine Houghton) fell in love with a black man (Remember: Stanley Kramer's film took place during the 1960's when race relations were routinely characterized by tumult) named Dr. John Prentice, a "perfect" man played by the legendary Sidney Poitier. As the news registered with a startled Mr. Drayton (Spencer), his iconic stone-cold face began to intimate a blinding incredulity. And then he uttered this famous refrain: "What the hell's goin' on ...

Silent Film Edition: Part I       There is no way I could conjoin, at least with any faithful accord, the words film and connoisseur without examining the silent film era. And not some thumbnail critique, but an honest inspection where the terms zeitgeist and technical efficiency dominate the lexicon.        For the obsessively xenophobic moviegoer, whose idea of a movie predicated strictly upon visuals, pantomime, and intertitles inspires loathsome charges of supreme boredom, this feature shall, I can only hope (thank you, Princess Leia), instill in you perhaps a scintilla of affection for the era that gave birth to our beloved cinema.       The idea of merging sound and image, specifically "motion picture," is as old as film itself, but technical challenges, arising from difficulties synchronizing dialogue, prevented their practical marriage. With the advent of the Vitaphone system, ushering in ...

Pretty But Perfunctory *Editors Note: Pretend Clint Eastwood is narrating this entire post!       Beyond an investment of $3.5 million (per 30-seconds, up from $3 million last year) and a critical mass upwards of 90 million, what distinguishes a Super Bowl spot from any other spectacle-less day of advertising? Well, because of the exorbitant monetary outlay and the mammoth exposure, the biggest distinction is, presumably, creative disbursement. All that money—enough to feature Taylor Kitsch in two prominent spots—has to go to good use, correct? The answer, of course, is yes. But, more important, do the yeoman efforts, from marketers, actors, directors, and sponsors, produce effective results? Sadly no. In the hotbed of filmic fanaticism, the 2012 Super Bowl will be synonymous with three words, transitively etched in the amorphous footprint of Twitter: Pretty but perfunctory.

The Path of the Unfair Man Paths of Glory (1957) - Stanley Kubrick War, at its very core, pitting man opposite man, nation against nation, ideology vs. ideology,  is objectionable; gainful byproducts—heroism, courage, honor, and freedom—materialize only in the absence of tyranny. Kubrick's Paths of Glory is a luminous albeit controversial examination of this very conflict, in the face of suffering, behind a facade of honor, amidst a path of overwhelming destruction. The real cost of war is not measured in any dollar investment, but in stark contrast, by the morbid tabulations of human loss. World War I drastically altered the landscape of aggression, as trench warfare disintegrated notions of civility. An imprint of cynicism piggybacked victory, as beleaguered soldiers, dehumanized by the brutality of war, were forced to confront an abject reality bound by their corrupt leaders' miserly aims. While Glory, focusing on the plight of soldiers in battle, avoids any ins...

Tattoos Penetrate Skin, Provoke Discussion       David Fincher is a maestro of mood. His darkly probing psychical lens, marked by lurid curiosity, depicts menace in the shadows of decrepit dealings, corruption on the fringes of institutional hierarchy, and dishonesty in the despicable terrain of a broken land, whose violent lifeblood, objectified by lascivious miscreants, runs amok of both order and reason.

Fighting The Good Fight       A traditional high school film unfurls with less excitement than a trip to the dentist, a dentist, in fact, with credentials best exemplified by this smiling buffoon of Bond lore . Convention elucidates, often blithely, a celebration of Mr. Drab and Mr. Dull, figures whose genetic code reads, in the strictest interpretation: Minutia of mundanity. Boring and banal, let's be honest, are two words deathly undeserving of cinematic treatment. Thankfully, an exhilarated gasp and animated fist pump later, Chris Shimojima's ( Director of Madeleine Zabel, reviewed by yours truly ) newest short, JT vs. the Good Guys , competently circumvents convention, revealing a nontraditional high school film with gusto.

Beauty Is In The Eye of the Beholder        *This review appeared unedited in my Top 10 Films of 2011 post. It was, unsurprisingly, my number two film of the year. Malick, in my vernacular, means magnificent. And because I admired his visually enrapturing contemplation of life so deeply, it deserved singular residence on my blog. Without further elucidation, my review:        Terrence Malick's sprawling meditation of life is as ambitious a film as Stanley Kubrick's piece de resistance, 2001: A Space Odyssey. A technical achievement unsurpassed stylistically by every film this year, Tree of Life combines temporal extravagance with uncanny ambrosial awareness. Employing visual, narrative devices anathema to Hollywood, Malick exhibits, through ellipsis, elaborate visual exploration, and aggressive spacial arrangement, a rare fusion of style and technique. Astounding one's senses like the lyrical, transcendental ...

Strains, Lanes and Automatons        Not quite the year of Planes, Trains and Automobiles , 2011 distinguished itself as the year, which demonstrated Hollywood's recidivist tendencies (bad habits), driven, unsurprisingly, by a strong capitalistic urge to promote superheroes, comic book characters, and any other potentially robust profit stream; I guess the ancillary benefits associated with excessive merchandising are too potent a force (sadly Luke Skywalker would pose no threat to the gross infiltration of Hollywood executives, after all, his franchise helped establish the model). Indeed, 2011 was the year of the superhero. But these monetarily-inspired incarnations, while neither transcendent nor groundbreaking, were quite commendable ( X-Men: First Class, Thor, Harry Potter and the Deathly Hallows: Part 2 ), revealing an advantageous benefit of superhero hysteria: Successful blending of art-house and commercial fare.       Obj...

Fight To The Dual        " Warriors, come out to pla-i-ay. " From one cult film with the connotation of a man devoted to war to what surely is destined to be another, Warrior is a sterling exhibition, and most important, a heartfelt example of a film that embraces multidimensional composition. Guilty of an inopportune release date (after the enormous bounty of praise given to The Wrestler and The Fighter ) Warrior establishes its champion custodian of direction, Mr. Gavin O'Connor as a vital resource in American cinema; a director whose chief talents insinuate a very basic understanding of humanity. O'Connor weaves gut-wrenching emotion into a gripping, embattled tapestry of duality, pieced together by men, equal part martial artist and pugilist, whose primal pursuit in life involves barbaric bouts of manhood. O'Connor's weighty suggestions of dual purpose—mythical vs. reality, hardship vs. romance, style vs. substance, home vs. away—underscore hi...