Rocky II

Rocky II is perhaps the least talked about Rocky sequel, as it is the one that is technically another one right down to Rocky fighting the same exact opponent. The film really shouldn't have much to offer yet it works as a follow up the original even if it does not reinvent the wheel. It instead takes a mostly natural exploration into what it would be for Rocky to continue his life after that 15 minutes of fame, with the only conceit being that he's given a second chance even though he was all washed up in the original film. It's easy enough to forget that conceit as Stallone's first effort as a director as the character is an interesting one as it naturally evolves the characters rather than sending them back to square one as too many sequels do. We get more of Rocky and Adrian's relationship in a believable way, Rocky and Mickey continue their contentious friendship as one should expect, Rocky bungles his fame as he probably would. Interestingly enough it also once again realizes a stage in Stallone's career, seemingly accidentally this time, as Rocky's dumb commercials are pretty good representation of Stallone's less prestigious offerings post-Rocky. It works in these further explorations to the point that most of it doesn't feel at all repetitive. Now what's remarkable though is the two major repeats of the film, the fight and the montage, actually do work as Stallone successfully ups the ante in both. Now a whole crowd runs with Rocky up the steps in victory, perhaps a bit much, but hey it somehow works. The fight itself though is a major upgrade over the original fight as it gets in far greater detail of the match, and is captivating in is realization of every round. This doesn't reinvent the wheel of Rocky, boy if it isn't an enjoyable spin.
4/5

Tinker Tailor Soldier Spy Mini Series

It is in many ways true that television is better than it has ever been, and it now where many of what will be seen as the classics of television may be created. I write this because that sort of "list" doesn't yet exist, in say the way we have a Sight and Sound poll for the greatest films of all time. Although there are series that still are treated with affection from the earlier period they are few and far between. There were earlier indications of change though with a rise in mini-series of note beginning around when this Tinker Tailor Soldier Spy premiered in the late 70's, and adaptation of John Le Carré's novel of the same name. Although it must be noted that some of technical and budgetary elements due date it as a television production of the time. Thankfully the same cannot be said for the storytelling which brilliantly captures the world found within the novel, a world of dark twists and turns, of a specifically glamorized spy world. This actually further reflected in that low key production in many ways, as the offices of the spies could be of any old office, they just are living in a normal world just like anyone else, on the surface anyway. That lack of veneer plays directly into the idea of this spy world though which is entirely without glamour or glitz found in a James Bond. These are just tired older men doing a job, although that job is one of duplicity and mercilessness. The series is brilliant in crafting this world and realizing through the various characters headlined of course by Alec Guinness's outstanding turn by George Smiley, that apparently influenced the way Le Carré wrote the character in future installments. The series is about low key yet powerful moments that capitalize on the incisive nature of the writing and the strength of the performances. It might not have the production value of a film, but it does have excellence in storytelling, perhaps even more so as the series is an early example of making use of what television has to offer that film does not.
5/5

Apocalypse Now

A quick note on the redux. The redux is a poorer cut of the film. It botches the pacing severely through mostly useless scenes, that don't quite work, or in the case of the ghostly French plantation seems the realization of how the original film could have gone wrong. As that sequence gets lost in symbolism and loses too much of a grasp on reality. The only scene that works really is an additional moment with Brando's Colonel Kurtz, but it is still hardly a major loss. They work as interesting deleted scenes but do not belong in the film. The original cut of the film however is one of the greatest films of all time. The production itself was madness and someone that managed to capture the madness of war. The film though is effectively apolitical, it's so much about the Vietnam war as it is the condition of being in such war and such a place. This approach leads to a one of kind film experience that is about falling into that insanity created in both men and nature itself. The film, again the original cut, never gets lost in the ideas. It is very much about the men and the way they are or become in such circumstances, though not quite a simply as they become savages. It is instead so much more in its examination of the clash of personality and the element such as the false god Kurtz becoming lost in his own delusions of grandeur, or the warrior of old in Robert Duvall's Killgore thriving in an environment which allows him to play at war like a game. The themes, and story are grandiose and Francis Ford Coppola matches that with his own vision. The sequences of the film have become iconic to cinema for a reason, as the imagery here is unlike anything you'll ever see even with its influence on so many films that came later. It is a masterful work of art as the scale never overwhelms itself creating such fascinating examination of the human condition in war while  What Coppola captures likely could have only been found in that single moment of insanity in time.
5/5

Alien

Looking at Alien is quite something as it might be the most overachieving film of all time. Just in terms of its central idea it’s a monster in a house thriller, but the house just happens to be a spaceship. The film knows no such simplicity, even though the plot itself does technically hold true to that form. The screenplay though isn't simple. I don't just mean that in the twists and turns, which should not be hand waved as the several twists in the film are some of the most effective twists you'll see in any film. It also cares so much for character. Although most of the characters are going to be killed, they are not just there to be killed. We learn about each of them as people, and there is real dynamic across the crew. Of course this is helped greatly by the film having one of the greatest ensembles of all time. There is not a wasted performance everyone adds something extra with how honestly they inhabit their characters in this film. Then there's every technical element of the film all utilized brilliantly by Ridley Scott's masterful direction. His vision takes the film to even greater heights as it crafts this world that is terrifying, awe inspiring, and lived in all at the same time. Alien as a horror film is encased in the atmosphere of a cold space, underlined with a tension and scares that few films can emulate, whether it is Dallas's lonely walk through the air vents or Kane's rather unhealthy meal. As a horror film is arguably the greatest of all time, yet it is also simply one of the greatest films of all time as well. 

5/5

Who is Killing the Great Chefs of Europe?

It's not a bad film. It has some funny moments with Robert Morley being particularly enjoyable in his role. The problem is though is that here's a film that could have used a bit more style as it is oddly matter of fact in its depiction of a serial killer focusing on chefs. It seems like there would probably been room for some interesting visuals regarding food with that premise, but the film is directed in a workmanlike fashion.
3/5