What happens when a violent, alcoholic ex-marine drifter stows away on a yacht and is found by a charismatic, self-deluded cult leader? The two become the best of friends of course, and form a symbiotic relationship. The saint has found his sinner to cure, and the accident of it must mean that there are higher forces at work. At least in the mind of the master, who has been chosen to do great work, and so the bond is forged. Freddy undergoes "processing" a kind of suggestive hypnosis to recall past painful memories, some attempt to fix the present by changing the past in the mind...or something like that. Getting his frustrations out with this guy over hard home-made booze makes him feel good and there's free food, drink and pussy all round so he sticks around and has a great time, belonging for a while. His violent temper gives the master something to chastise, in turn giving the master opportunity to alleviate his mostly concealed anger, which he denies and covers up with pseudo-philosophical made-up ideas and rituals which only turn out to be self-defeating because they are simply denial, so when pesky critics start questioning him about his claims to cure cancer through mind time travel he hilariously loses his s--t, before quickly restraining himself, because he doesn't have the answers unless he's doing his song-and-dance and his followers are hypnotized. Thankfully he has his beloved beast Freddy to go out and do the dirty work for him without tainting his reputation, roughing up the unbelievers. He returns to tell the master of what he has done and is told off, giving the master his authority in a viciously logical yet kind of nice relationship.
If it sounds like Lancaster Dodd (the master) is a villain, fear not, there are no villains in the film, just humans. He is a cynical charlatan, but like Freddy he's also basically trying to get by and survive, albeit misleading people along the way, or is he? I think one of the ways to find some kind of truth within yourself is to exert yourself in absurd endeavours to the point of mad frustration. And the rituals this group uses are indeed absurd. In one sequence the cult tries to cure Freddy through a series of mind games. Dodd's wife asks him what colour her eyes are, then commands him to "make them black," then "make them brown." They're green, not any other colour, and yet they're also black, and brown because what is green? He's asked to pace between a wall and a window and describe them in different ways, and he reaches a critical point of frustration because no matter how many different ways he describes them they are in fact just a window and a wall, because that's what he's been taught, and no matter what they might actually be beyond that, to him alone they are just a window and a wall. The tree of possibility burns until there's just the trunk. As he paces back and forth he posits that he could leave any time he wants, but he is trapped there because it is his choice. His choice indeed. And that's it. Dodd preaches about rising above emotions, above the animal self, that we are not animals, but truly we are spirits exiting in eternity, and yet he cannot stop himself from lashing out when doubt and scepticism ruins his show. Freddy improves greatly within the cult, and yet when out in public confronted by a naysayer he tackles him to the ground and slaps him around, and he's back right where he started, all over again. So this cult is very useful indeed, if only to completely and utterly destroy all hope of being anything except what you are, which is a truth all spiritual paths can lead you to no matter how silly you find the practices. Religion comes in many forms. When a woman questions Dodd about his reasoning he can't say he doesn't have any so he loses it. "Just because" is the answer but most people don't like that because there must be a reason. He makes his own because he doesn't want to
I don't know whether this film is anti-religion or for, but I don't think it's either. It's a double-edged sword for sure, on one hand Freddy is a martyr, whose very existence disproves everything that brings people and money to the cult. He cannot be cured because there is nothing to cure and his life of hard drinking, scrapping and generally stumbling around being incoherent is holy and pure and needs no cleansing, so then what is organized religion for? He could stay with the cult, and keep up the lie with the charade of trying to "get better," or he could leave and the cult would remain a charade. What exactly is the cult? For sure it does help Freddy in a way, by reassuring him that he's not wrong, and he even makes fun of the ritual in the end while screwing a prostitute. In the end he's right back where he started, on the beach lying next to a pair of tits he's made in the sand.
The film is funny, compelling, interesting, and beautifully shot and put together, with loads of great images and ideas, and Phillip Seymour Hoffman and Jaquin (I don't know how to spell it) Pheonix. I love it. I'd forgotten that Paul Thomas Anderson makes great films.
Shane is a great film, and the titular character is one of the greatest trolls of the screen. Basically he's a poker-faced chameleon who turns up in a small farming town town one day and immediately emasculates a local farmer and gains the affections of his wife and the undying and creepy admiration of his little boy, one of the most annoying kids in film history who repeatedly shouts "Shane, shaaane" in a grating monotonous twang. Jake Lloyd is positively restrained compared to this kid, although thankfully he doesn't ask Shane if he's an angel, and thankfully it doesn't spoil a great film. Shane immediately stirs up the local rancher land baron who wants to take all the land for himself. In my favourite scene of the film, he walks into a bar and orders a soda pop. Ben Johnson who is sitting drinking chortles at the choice of beverage and confronts him, splashing him with his drink. Later in the film Shane, deceptively strong and vicious, totally whips him in a bar fight, before doing what the local townsfolk can't by killing Riker and his henchmen as the kid watches, before heading into the mountains to die. I don't think he went to die though, and he probably made it to the other side to troll other territories.
I feel like that little kid, in awe of Shane's charm and prowess at manipulating simpletons.
Season 4 is a step down compared to the first three. That is, there are a few good-great episodes but they're just mostly just so-so. A Single Drop of Rain, about a con-man who sells rain to hick towns in drought is great, but then there's a lame episode about a psychic and a TV news presenter tracking down a killer. Running For Honor is a great episode because it finally brings to light what anyone watching Quantum Leap to that point had been pondering, Sam Beckett's sexuality. He plays a navy sailor accused of being gay by an anti-gay gang at a navy academy. Even Al suspects it when he sees Sam crossing his legs gingerly and drinking tea. The signs have been there throughout the whole series, even God itself teased it when he leaped Sam to kneeling directly in front of a man's genitalia. The Last Gunfighter is an alright western episode. You can tell when they aim an episode at kids because it's preachy and has some kind of moral value. A Song for the Soul is a nice episode about a young singer frustrated and trapped between her strict gospel preaching father and her desire to sing in success. It features an obvious shady nightclub owner who thinks he's smooth with the ladies who gets totally owned in the end.
Aside from the previously mentioned "Raped," Season 4 is mostly just light, fun episodes. The Curse of Pah-Ho-Tep, set at an Egyptian dig, and especially Ghost Ship, are great. Ghost Ship is hilarious because Sam leaps in to a pilot mid-flight over the ocean and despite being a well trained, focused polymath he panics and doesn't even try to take control of the pain. It also features a WW2 pilot who in a hilarious scene has Bermuda triangle U-boat flashbacks. It's fun because it's set on a little luxury plane and there's a sense of adventure. It's a Wonderful Leap is a take on It's A Wonderful Life and is pretty good. Roberto is another good episode with a good story about news anchors trying to uncover a conspiracy at a fertilizer plant, and it's funny because Sam tries to make wisecracks and just comes off as robotic. Stand-Up is fun, about a comedy trio in Las Vegas. The last episode thankfully is pretty good, and it's about Al, although it's not particularly moving like MIA. Al is accused of rape and murder and Sam has to clear his name. It's notable because the timeline is changed and Al disappears only to be replaced by an insufferable British ponce. Thankfully the timeline is put back right and Al is back. It's funny too because it features a weirdo navy commander who gets off on watching his officers have sex with his wife. One more season to go, and then I'll probably just watch them all again in one go, because I have an important job to do.
Hot, barely legal teenage girls in bikinis. Neon lights. This film is right up my alley. Great images and impressions. Another great film from Harmony Korine. Great electronic score. That is all.
New Jack City, or Ice T: The Movie is a great gangster film. I call it Ice T the movie because it might as well be. His persona is so cool, so high, so dominant, that I don't even remember anyone else in the film. Oh yeah, Wesley Snipes plays the bad guy, an gangsta wannabe who gets effortlessly owned at every turn. Didn't he know Ice invented gangsta? Chris Rock is also in the film, playing a crack head loser who accidentally helps Ice T and the white guy bust Nino. He's sort of like the Jar Jar Binks of this film.
Ice T is supposed to be playing a cop, but is really just playing Ice T, and not even trying to be anything else, and why not? It really carries a film that's otherwise filled with brooding killers and drug dealers. It turned the film into a comedy for me, because he wears the same wide-eyed glare throughout the whole film, and watching him shephard Pookie through his crack addiction with that almost supernatural, saintly and serious expression is comical. He also wears a variety of hats and pimp clothes, further removing any notion that he might possibly be a cop, even undercover. There's quite a good story to the film as I recall, with plenty of good scenes, and did I mention Ice T and his variety of hats?
I watched Skyfall a while back, and I thought it was crap. I hated the serious plot. I hated the bland BBC drama style cinematography. I hated how topical it was, all about hacking and leaks and national security. I couldn't bring myself to hate Daniel Craig because he was so bland, so grim and so dour that I didn't really notice him in the mix. I think he's the worst James Bond, and his films are the worst of the franchise, simply because for me James Bond is Roger Moore spouting one-liners, stuffing a midget into a suitcase, dangling from the golden gate bridge and being really suave and sophisticated. I just find the older films so much more fun, and I prefer older action films in general, I guess because before 9/11 there could be films about planes blowing up and huge buildings falling and it was awesome instead of tragic. There hasn't been a single ridiculous plane hijacking action thriller like Air Force One or Executive Decision since before 9/11 because America is apparently really sensitive about it, and now the whole world is sensitive about terrorism. Those terrorists sure know how to spoil fun, right? Or is it just as much to do with our attitude to it? I mean if we're all sharpening our knives and looking over our shoulders and brandishing pitchforks aren't we giving in to evil? Now I'm not saying the Pierce Brosnan Bond films were great (Die Another Day was incredibly stupid and bad), but they still retained some of the colour and style of the older films. Roger Moore is my favourite Bond precisely because he doesn't take the role seriously and sort of plays Bond as a smug English gentleman who can't lose and always has a line.
I haven't read any Bond books, but apparently Fleming wrote Bond as a hard-nosed, callous anti-hero. When Casino Royale came out, one of the selling points was that it was a new, rough and tough, gritty Bond, and they took every opportunity to show him as such. I think the classic opening was even changed to show Bond beating a guy to death in a bathroom. I didn't really like the film much. It wasn't the Bond I knew. Not only that, it wasn't the first time there was a hard-boiled Bond. Timothy Dalton married the suave, elegant Bond with the direct, hard-nosed Bond perfectly, although he only did two films. He was a brilliant Bond, and starred in probably my favourite Bond film next to A View to a Kill, License to Kill.
License to Kill was a violent, realistic Bond film done in style, John Glen's last Bond, a great action film that doesn't feature any of the camp of the previous films but is still colourful, funny and light hearted. It sees Bond go after a Mexican drug lord who kills his CIA buddy Felix. He is fired from the secret service by M for getting revenge on a corrupt CIA man (Everett McGill from Twin Peaks), by feeding him to a shark, and then goes after the drug lord played by Robert Davi who had Felix fed to a shark. There are so many great villains in this who die violent and horrible deaths, including Benicio Del Toro in one of his first roles. It's almost like a Peckinpah Bond film. There are great action sequences, from Bond wrestling with a guy for control of a plane full of millions of dollars in mid flight, to a a bar room brawl in a very 80s kind of bar, to a chase through the desert in explosive fuel trucks. Desmond Lewelynn actually helps Bond in his escapades, and there are two great Bond girls, a CIA agent and a Mexican who is tired of being spanked by an Iguana. Robert Davi makes a great and menacing villain. The actions scenes are so spectacular it's hard to believe they had budget constraints. Timothy Dalton is tough but also likeable and charismatic. For me it's the absolute best Bond film and my favourite of the series.
The Firm is a great Star Wars film. It stars Tom Cruise as Biggs Darklighter McDeere, a hot shot young moisture farmer fresh out of law school in Boston who dreams of someday making it big and joining struggle of good against evil by becoming a lawyer. His wish is granted by a tight-knit family law firm that appears perfect, giving him a new house, a new Mercedes and a salary. His wife is played by Jeanne Tripplehorn, who is pretty hot. They go to Memphis where his new job is and they settle in. Gene Hackman plays his wise old mentor, who drinks a lot. Soon he finds out that everyone in the company is a crook working for a crime family in Chicago, but he can't leave because they'll track him down and kill him, and they have his house and phones bugged. He consults his brother in jail, played by the smooth guy from LA Confidential, and he leads him to a smuggler played by Gary Busey who gives him passage to the inner core of the company, along with Holly Hunter. The FBI soon track him down and try to make him work for them, getting evidence to put the evil firm behind firm, rigid bars of metal. Both the FBI and the firm have tractor beams on him so he can't escape, so he uses the force and lets go, getting leverage over both sides so he can get his life back and blow the firm in the exhaust port. He succeeds and leaves to go back to Boston to teach more Jedi how to do it.
Tom Cruise using the force in "The Firm."
