FilmMattic

Sentenced to Write Editor's Note: Realizing that this is a site dedicated to film and is meant to foster discussion therein, I shamefully admit that I have been derelict in my aficionado duties. Which is the business of reviewing films. So, starting now, I will be fulfilling my ardent obligation and writing a review. I hope this will be a reemergence back into regular blogging and reviewing, and that I will not fall victim to malaise. FilmMattic reviews shall persist in perpetuity as far as I'm concerned...       Perhaps the hypnotic gestures of fate energized my inner-critic because here I reflect on a movie spawned from the prodigious creative might of Orson Welles. That movie is  The Trial. And as I reflect and yield to the calm solace of introspection, I am alarmed to discover that I have not written a satisfactory review in an eternity and a day.  This blog has not, as its inception dictates, appropriately performed its primary function. ...

Zombieland       Ah, Z day...the last day of the A-to-Z Challenge. Should I "jump, jump" like Kris Kross or "get jiggy with it" like Will Smith. Frankly, I only adopt such enthusiastic measures "when I got patron in my cup...tell the DJ play my shit, On that club music shit." Since this is entirely a virtual atmosphere, I will simply borrow the trademark phrase of the infamous, magnanimous, blasphemous Charlie Sheen, "Winning" (okay, in my blatant attempt to mimic Mike Tyson, which word doesn't belong, as a suitable descriptor for the former Two and A Half Man...it's kind of like an SAT question, huh)?        With all kidding aside, it has been a terrific month. I want to send my sincerest thanks to all of you who have joined my blog this past month. I've made new friends and didn't lose any old ones, so I would also like to thank those of you who have stuck with me. I hope to keep seeing you all around. I also want to send a ...

Yojimbo or Y Tu Mamá También       I'm going to be a little playful now that the blogging challenge finish line is only inches away. All you need to know is that the italicized titles are actual films (that I didn't pick), and the following transcript is a fictional back-and-forth between two unnamed characters. Let's begin, shall we?   " Your Highness ," Mr. Nameless said . "No, I won't address you with such cordial grace. It's The Year of Living Dangerously and I'm just a Youth in Revolt . There's no Yankee Doodle Dandy in 2011, which is to say, no one's gonna be mistaken for James Cagney. If you want Yesterday 's version of raucous, vulgar entertainment, and that oh-so wonderful slice of Americana, you'll have to tune into 2004's Young, Beautiful and Screwed Up ... what we know today as, Jersey Shore," Mr. Anonymous replied. " You Must Be Joking ? " "What, You Talkin' to Me ?" "W...

X2: X-Men United       We've made it to the XYZ affair. Before you interject with some sarcastic remark, let me just state that I'm fully aware that I'm going from an incisive discussion of Jean-Luc Godard's Weekend into an enthusiastic discussion of X2 (two films cannot be more antithetical in design and purpose). But there's a reason I won the Versatile Blogger Award, and it has nothing to do with the fact that said award is merely the blogosphere's version of a chain letter. It's because I faithfully impose my diverse love for film on y'all. After all, FilmMattic is a repository of movie-centric ramblings, as vintage as Weekend and contemporary as Source Code .         Today's letter of the day usually implies an exodus, a removal, or some kind of exclusion of sorts. Well, this negative connotation does not apply on this spring day because I'm here to highlight one awfully exciting, well-executed comic book film. Expunge any...

Weekend       There were some formidable contenders to consider for "W." We've got Sam Peckinpah's Western The Wild Bunch , but I've already honored enough classic Westerns for one alphabet ( High Noon , Once Upon a Time in the West , and Unforgiven ). Who Framed Roger Rabbit is an entertaining, live-action/animation, fantasy-comedy spectacle from the special effects wizard Robert Zemeckis, but he's already captured a magical spot ( Back to the Future ). Judy Garland's performance in Victor Fleming's The Wizard of Oz will forever astound me; it's a true marvel of its time and a movie I cherished during my youth. But its enchantment doesn't quite send a chilly tingle up my spine the way it did when I was a kid, so I have to pass. Finally, the supremely talented Billy Wilder gets another crack at my Alphabet with Witness for the Prosecution, and just like Some Like It Hot, he was oh-so-close. Movies based on plays can be rather hit-or-miss; ho...

Vertigo       I'm one of Paul Newman's most ardent fans (his portrayal as Cool Hand Luke is simply jaw-dropping). His performance in The Verdict is nothing short of spellbinding. But Sidney Lumet's powerful and competent legal thriller does not earn my "V" spot (it was a close call). It's an unfortunate circumstance for the wonderful Lumet whom I greatly admire. I'd certainly place 12 Angry Men, his more riveting legal drama, in any numerical countdown, but there's just no numerals in the alphabet. Furthermore, Serpico and Dog Day Afternoon feature two of my favorite actor's (Al Pacino) best performances, but Kurosawa and John McClane got in Sonny's way. I haven't seen Valkyrie, so we can at least preemptively stave off any Tom Cruise bizarrely-jumping-for-joy-on-couches sightings. And Jean-Luc Godard is one of the most important and prodigious filmmakers in the history of cinema, but I must admit a modicum of shame for not seeing Vivre...

Unforgiven       I could never forgive myself if I shied away from one of my favorite genres (the Western) and its greatest revisionist, Old morality tale ( Unforgiven). Clint Eastwood made my day so many times before. It's only natural that I reciprocate the classic gesture. I love gangster movies—and Brian De Palma's The Untouchables is a breathtaking incarnation of Prohibition Era crime life—but your just not going to see The Usual Suspects represented in my Alphabetic U niverse. Bryan Singer's noirish yarn about "a bunch of criminals who meet in a police line-up" provides one of the great cinematic twists, but it doesn't boast an ensemble of Eastwood, Freeman, and Hackman nor does it provide the luster of the mythic Old West (though Singer's cast is damn fine too). I've been Sucker Punch ed by crime films before. Eastwood's Westerns, however, never disappoint. Foolhardy proclamation or not, I made sure to save a seat for The Man With No Nam...

  Honorable Mentions: The Third Man, True Romance, The Texas Chainsaw Massacre, The Terminator, The Treasure of Sierra Madre, Toy Story, Trainspotting, Titanic, The Truman Show, Top Gun, The Thin Red Line, and To Kill a Mockingbird       This letter was definitely no (T)ea party. The lot of films above (notice the obvious omission of any "The" films, unless followed by a "T") represent just a smattering of great movies that I carefully considered for this most difficult letter. The realization I've come to, quite conspicuously I must say, is that over the course of my Great Alphabetic unveiling, there are a handful of letters, which are nearly impossible to cull down...and then there are letters such as "Q." I guess the alphabet is an ardent follower of egalitarianism, for if all was not equal, I'd have a heck of lot more R's, S's, and T's in my countdown. But alas, I'm an equal opportunity employer. I must be fair to each letter...

Some Like It Hot, Seven Samurai, Seven, Saving Private Ryan, Scarface, Spider-Man 2, Snatch,  Superman (1978), Serpico, Solaris (1972)       I mistakenly thought the glutton of great films ended at "R"... Big mistake. Yet again, I must cull as aggressively and shrewdly as I can. For starters, I'm purposely avoiding any titles that start with "The" because it would be virtually impossible otherwise (if you don't believe me, see the contenders above). I do realize I broke this rule a few times already, but those were three very special and extenuating cases for three absolute film classics. I've already awarded Star Wars Episode V: The E mpire Strikes Back, so my pick's not coming from a galaxy far, far away. I love classic westerns—what can be better than the film that launched John Wayne's career—but sadly, Stagecoach doesn't earn my spot. And Some Like It Hot is a timeless comedy from the versatile mind of Billy Wilder, but it has been so l...

Raging Bull Or is it the fact that my head feels like a Bull just rammed it, as I tried to fastidiously figure this one out.      This is going to be a long one. "R" ushered in one of the most spirited competitions yet. Fortunately, I could immediately eliminate one of my favorites. There will be no Raider of the Lost Ark. I already sneaked that one in (check "I"). However, there's still a dozen other great "R" films that I'm considering. My head is about ready to explode (thank you Bull).        There's Hitchcock's Rear Window, one of his finest masterpieces of suspense, and then there's Rebecca; not only is it one of the most thrilling psychological tales ever to be witnessed, but it's an illustrious remnant of the Golden Age. The competition does not lesson in intensity from here because I have to consider Howard Hawk's extraordinary western, Rio Bravo (Tarantino's favorite film), which is Hawk's and John Wayne...

Quiz Show        It's too bad that The African Queen isn't just called Queen because Humphrey Bogart gives one of his best performances alongside Katharine Hepburn in John Huston's beautiful film....but alas, let's move on to a good film that is a "Q" qualifier, and with reason. Since I was a little harsh to The Sundance Kid with my "O" post, I decided to make amends by selecting Robert Redford's historical drama, Quiz Show. "Q" is like the red-headed stepchild of film letters, but Redford's film is no walkover. I'll keep this review fairly short, not out of deference to Redford, who'd probably not want to read a long review. Instead, we all know "Q's" are only good when they're preceded by Susie. And, unless your playing "Words With Friends," who has any real use for "Q?" I don't know one person that has an affinity for Q-tips, and the rapper Q-Tip kind of faded into celebrity-ob...

Pulp Fiction       I've referenced Quentin Tarantino so many times before that I feel like he's already been awarded his own Great Alphabet of films. His extraordinary breadth of influence—or more explicitly, those who have inspired him—permeates most of my broadest cinematic affections. I guess this is why, perhaps perfectly fitting, that I'm moving from a discussion of a Sergio Leone film (whom Tarantino adores for his staggering stylization) to, in my opinion, Tarantino's best film. 

Once Upon a Time in the West       As a Scorsese loyalist, much like any made man, I can never pay respect to a film that robbed a Best Director Oscar ( 1980 Academy Awards ) from Marty for his tremendous work on Raging Bull. The criminality of the Academy's heinous decision wreaks of the sordid criminality present in Henry Hill's breach of omertá in Goodfellas . The mafia doesn't look too kindly on Ordinary People . I'm sorry Robert Redford. As much as I love your work, especially in Butch Cassidy and the Sundance Kid, I can't grant you my "O" spot. Kurt Russell's performance in Overboard is priceless, but the film is far from flawless. For the record, I'm a big fan of Steven Soderbergh's Ocean's films (especially the first), but they don't garner placement either. So that leaves us with a double whammy of Once Upon a Times from Sergio Leone— Once Upon a Time in the West and Once Upon a Time in America— the irreverent One Flew Over...

North by Northwest       I would love to include a Coen brothers film in my Alphabet. No Country for Old Men is a tremendous contemporary film, but North by Northwest is one of the greatest films, period. Not to mention, Fargo is their best film, but Fight Club won that close contest (Sorry Coens). I also love The Natural (who doesn't love Roy Hobbs!?) and National Lampoons: Animal House (the father of the "gross-out genre") is one of the greatest comedies of all-time—my buddies and I even hosted a Toga party in honor of Blutarsky (played by the sorely missed, John Belushi). Network (the recently deceased Sidney Lumet) provides one of the most powerful scenes in the history of cinema, complements of the immortal Peter Finch, and his rousing " Mad As Hell " monologue. Lest we even forget, the 1927 film, Napoleon (Abel Gance), a landmark silent French film for its use of handheld cameras and editing. As you can clearly see, every letter presents a unique chall...

Memento       Maybe it has to do with the fact that my name starts with "M," but this letter of the alphabet posed one of the grandest difficulties. So many good films, just one gets the spot. I mean who I am to say which is better among Mr. Smith Goes to Washington (Frank Capra), Modern Times (Charlie Chaplin), The Maltese Falcon (John Huston) or Monty Python and the Holy Grail (Terry Gilliam & Terry Jones). We're talking about a veritable collection of some of cinemas greatest figures. Sadly, I'll pass on these wonderful films. In a shortsighted, but deliberate turn, I'll focus on two milestone films from my generation. 

Lawrence of Arabia        Excluding The Godfather , this film became the easiest selection for placement in my Great Alphabet. It is the film, quite simply, that defined the epic. Often considered one of the "greatest and most influential films in the history of cinema," 1 Lawrence of Arabia is a superior and beautiful examination of humanity, specifically, the humanity of one very complex man, T.E. Lawrence. It's not a chronology of the life of Lawrence. On the contrary, it is a riveting exploration of a man's struggle to understand his own identity in the face of untold violence, brought upon by the brutalities of war. David Lean's film etched an indelible mark in the hearts of aspiring filmmakers. We need not look any further than the words of Steven Spielberg to substantiate the enormity of how great this film truly is: "the mirage sequence is still the greatest miracle I've seen on film...and maybe the greatest screenplay ever written for the ...

The Killing       I apologize to the Tarantino loyalists, but Kill Bill (Vol. 1 or 2) is not my "K" film. I look at it from two angles. For one, I'll make it up to Tarantino when we get to "P." And secondly, if I can neglect both King Kong (1933), which doesn't hold up to modern standards despite its landmark significance, as a stunning example of stop-motion animation, and an influential monster-adventure epic, and The King of Comedy— well, because I've already extensively written about that —then I can shed no contrition for dismissing Tarantino's tremendous two-part action thriller. 

 Jurassic Park          For me, this selection was easier than "I" because there were really only two formidable contenders. However, there's still a difficult choice to be made. It's either Steven Spielberg's landmark science-fiction film Jurassic Park, or Steven Spielberg's watershed thriller Jaws. Either way, Steven Spielberg owns the "J" category of film. What the "J" category represents is a kind of battle of generations, or at the very least, a tangential appraisal of cinematic history. Does a moviegoer value the birth of the "summer blockbuster" more than the inventiveness of tangibly real, special effects driven extravagance—the latter, which reflects the modernized "blockbuster?"

Indiana Jones and the Raiders of the Lost Ark       Determining which movie would represent the letter "I" was extremely difficult for a number of reasons. For one, how do I decide which Indiana Jones movie is the best because The Raiders of the Lost Ark and The Last Crusade are almost equally good? How can I justify the omission of It's A Wonderful Life, which is arguably the most I nspirational film of all-time, thanks to Frank Capra's wonderful spirit of goodness, and the greatest "everyman" to ever grace a screen, James Stewart? I claim to be the biggest Christopher Nolan fan, so how can I neglect the inclusion of Inception ( I'll make it up to him at "M")? Independence Day marked for me, a time when I could venture to the theater free of an adult, so long as one of my older brothers accompanied me. To this day, I still remember vividly that early July day when I first watched Will Smith become a superstar; "I have got to get me on...

High Noon        " Do Not Forsake Me, Oh My Darlin " is the highly acclaimed song that beautifully harmonizes the grand themes of one of film's foremost westerns, High Noon. There is something masterfully presidential about it. Fred Zinnemann's film primarily examines themes of duty and honor; for this reason, former President's Bill Clinton and Dwight D. Eisenhower both name it their favorite of all-time.