Pan's Labyrinth

Pan's Labyrinth is Guillermo Del Toro's film about a little girl Ofelia who discovers a mysterious world during the Spanish civil war. Del Toro is a visionary director in terms of the visually fascinating worlds he creates and his attention to detail in creating notable visual effects. What he's not very capable of though is even an ounce of subtlety. He prefer his archetypes in general making something a little problematic in using the Spanish Civil War as a staging for his film, as that war was anything but a good vs evil affair. This approach though is more problematic than simplicity of history though through his realization of the character of Captain Vidal the merciless step father of the little girl. The character has little to no nuance with his opening scene of greeting his new family begins with him admonishing Ofelia for merely trying to shake with the wrong hand. Having this pure evil force could not be a terrible problem for a fantastical film however the real problem for Del Toro is his failure in when he attempts nuance. With the Captain we have the story of his father's watch that stopped when his father died. This is given much importance, and time within the film yet only ever feels like a vague attempt to offer some substance to the broad stroke character. Del Toro is frankly best when he just embraces his broad strokes since he struggles with anything else. In turn his best scenes are of the fantasy world with the dark monstrous creatures Ofelia must face in order to claim her place on an otherworldly throne. These scenes are the best within the film as they are always imaginative in their staging and direction by Del Toro. That is not to say they are completely without some minor frustrations, namely Ofelia tasting a forbidden grape only in order to awaken a girl eating monster and the only reason she seems to this is to make the scene happen. The scenes in "reality" have a certain visceral effectiveness as the Captain hunts down the men on the opposing side in the woods however they are rather repetitive in this. The reason for the repetition though being the failure to find any nuance by Del Toro. This side somewhat works still through his broader style, but there is something lacking in the combination of two as Del Toro presents both in the same simple fashion. This in no way leads to a bad film at any point really, however its ambition seems greater than its achievement in the end.
4/5

Paths of Glory

Paths Of Glory is actually a bit of an outlier in Stanley Kubrick's filmography. Although the technical prowess of his direction found in his films is on display the film itself is by far his most humanistic film. Although Kubrick will allow a conduit for the audience to sympathize with or emphasize with to at least some extent he usually plays around with the supporting characters who are purposefully distant and strange. This is not the case in this film which seeks to find the humanity in every one. This includes even the worst characters, such as the cowardly Lieutenant Roget is granted a surprising degree of sympathy, and while this is not granted to glory seeking General Mireau his desperation for that glory is shown within a certain context. He's not made something grotesque, his actions are what grotesque, while we are allowed to see the man who beneath them. This approach realizes Kubrick's most emotionally resonate and powerful film. There is such care given to the soldiers that he allows one to witness the cruelty of the injustice within the system of war, where men are randomly selected for cowardice in order to act as a scape goat for the failures of battle. This isn't a film directly about the horrors of war, rather the horrors of the system that allows it and the insanity and insecurities that allow it thrive. Kubrick allows glints of optimism here, most notably through the powerhouse performance by Kirk Douglas, but just in the general tenderness towards his characters throughout. This is most notable, in Kubrick's greatest scene, which is saying something, where the group of soldiers find a respite in the song The Faithful Hussar, before going off to war once again. It is one of Kubrick's masterpieces, and the success of the film makes me ponder what he might have done with a few more film of this ilk.
5/5

Pirates Of The Caribbean: The Curse Of The Black Pearl

Pirates Of The Caribbean: The Curse Of The Black Pearl aka the film that started the most successful franchise based on an amusement park ride. Although technically speaking it is very much based on the swashbuckler films of old though here with a supernatural bent. Throughout filmmaking there have been films that were the noble beginning to an unpleasant end which is the case here. This is two fold one for the franchise itself and one for Johnny Depp as an actor. Depp had been known mostly for his off-beat performances in largely independent films but this thrust that off-beat style into the mainstream in a major way. In this case Depp a highly original take that energized the film that perhaps without him could have been another Cutthroat Island. His influence goes beyond just being an entertaining performance as he informs so much of the film with his presence, as so many scenes that could be standard are given a real flair whether it is making comic banter with the uptight British work, or give more of a life to his more straight forward co-stars. The film also benefits from some spirited action, an entertaining villain in Geoffrey Rush, and a particularly invigorating score from Hans Zimmer. The film isn't without flaws, its pacing is a bit off, though this is only a warm up for the sequels, and not all the effects hold up tot his day. It stands alone though as an enjoyable adventure film, though with perhaps those flaws to indicate things to come.
4/5

The Chronicles of Narnia: Prince Caspian

Prince Caspian follows very much the same vein as the first film. This changes a bit more and here and there with the the adaptation, naturally focusing more on the final battle, however still nothing overly dramatic. As with the first film everything is just fine really, though it has one major nice addition in Peter Dinklage's grumpy dwarf its falters with very underwhelming if not downright boring villains. The film trudges along well enough but never with any daring to really give the source material any extra umph to it. The dramatic beats are okay, the battles are decent, everything is okay, but nothing is great. It isn't a film that truly underwhelms yet it only ever seems like it is just enough, no more, no less to be deemed a minor success. The material itself perhaps is not as strong as the original leading quite naturally for this film to be not as strong either.
3/5

The People V O.J. Simpson

The People V O.J. Simpson obviously follows what was dubbed by some to be "trial of the century", that being football star O.J. Simpson being tried for the murder of his wife. This series could almost be described as a train wreck waiting to happen, yet to its credit it never does happen. Now to be sure there are times where the train starts sparking near the tracks, and losing traction, but it never falls off completely. Those moments are mostly found in the depiction of the man himself particularly in his most personal situations where the show veers heavily towards camp, this also is not helped by Cuba Gooding Jr who wildly overacts in the role as well as just is a poor fit for him to begin with. The bits we get of the "juice"'s personal life seemed purposefully skewed towards the melodramatic. The show shines however when we get into the courtroom where the show successfully reveals the circus, but also the intense complications involved that unfortunately are made to go beyond the man's guilt. Inside the courtroom the big personalities work for the defense, except for John Travolta who just goes a bit too far even for his role. The series though successfully though unveils the curtains on those personalities, or at least has some fun with their egos and presence. On the prosecution side though the show is perhaps at its best in revealing the unique struggles of the two attorneys who aren't quite ready for what the circus of the trial, the media, but each have their very personal investment within the case. There is where the most potent material is found, and it successfully bridges sort of the spectacle of the trial, with a real emotional connection realized. When the series is succeeds it is often quite great particularly in recreating those most intense interactions in the courtroom, when it's off it is more than a little odd. In the end the series seems to give you both the tabloids and the real journalism approach to the story. This creates not the most consistent tone, however the series is on point most of the time, which is certainly more than enough to create a compelling story.
4.5/5

Prometheus

Prometheus is another film I also might have benefited from having not seen the previous films in the series before I saw the film. I had no real connection to the Alien series therefore my expectations were fairly non-existent. Well again  I enjoyed this film even if there are abundant problems.  Many of the character actions make no sense, there are a few questionable performances, Guy Pearce as Mr. Burns (mostly for  the casting) and Tom Hardy's clone (just without the acting talent). The film though  worked for as just a rote sci-fi thriller with splendid visuals, which is elevated by a strong leading turn from Noomi Rapace and a memorable  supporting performance by Michael Fassbender. Ridley Scott's actual  direction is on point for the most part the problem with the film is the problematic script. It just  is  rife with plot  holes and  underwritten characters. The film though has  enough thrills to make  up for it, and I  found it paced fairly  well even though  it doesn't build  to the sort of stunning conclusion you'd expect from an Alien film.
3.5/5

Pulp Fiction

Although Reservoir Dogs put Quentin Tarantino on the map as an up and coming filmmaker, Pulp Fiction made him a landmark of cinema that was to be revisited for years to come. It interesting to examine how Tarantino's style matured with this film, and how it possibly caused him to be such a phenomenon. This is in terms of a stronger eye in terms of aesthetics, but also the way Tarantino allows his characters to breath a bit more, giving the film a far more relaxed story, even though there are three tension causing plot points behind the three main stories. All three stories that offer their own little flavor. Whether it is the forbidden romance of the first story, the complications of a man on the run, or just the hilarity following an accidental murder, yeah that's right hilarity. Tarantino allows his dialogue to shine and almost every conversation is a little gem. Tarantino manages to make them engaging, often entertaining, and most importantly helps to flesh out the characters. Well that is all except the painfully slow scene of the boxer Butch (Bruce Willis), and his girlfriend as she waxes on forever about her desire for a pot belly. That scene stops the movie right in its tracks, and I dread it whenever watching the film. Luckily Howard Hawks's apparent statement that a good film had to have three good scenes and no bad ones isn't true. A film can survive a bad scene if it has enough great ones to make up for. Pulp Fiction has those in overabundance. Whether it is the initial banter between the two hitman, taking out the mob boss's wife, the adrenaline needle, Christopher Walken's one scene wonder, the samurai sword showdown, Harvey Keitel's sorta one scene wonder, and of course the diner robbery finale. The film is pieced together brilliantly as it is bursting with unforgettable moments which add up to something truly special.  
5/5

The Pianist

The Pianist is a story of the Holocaust through the eyes of one man, Władysław Szpilman, a piano player by trade. The film works by maintaining this singular view throughout the film aided well by Adrien Brody's excellent central performance. This structure is the power of the film as it reveals the slow steps of the process of both the horrors of the war and the holocaust. Whether it is the way the Jews are slowly downgraded into status going from second class citizens, to ghetto dwellers, to eventually sent to death camps. We all get it from this one man who is often saved only by sheer luck of the draw in one way or another. The choice to keep the perspective so close is particularly effective in terms of emphasizing with Szpilman not only in terms of heartbreak of the losses he experiences, the fear of the near death moments, the paranoia of those suspecting his place, but also the dreams of something else in the piano playing moments. One of my favorite scenes is when Szpilman witnesses an outbreak of violence, and perspective allows for such a unique and harrowing depiction of warfare. It's exceptional film about a single man's survival.
5/5

Pride of the Yankees

Pride of the Yankees marks another turn by Gary Cooper as a man considered by many to be an American hero. This time Yankee hall of famer Lou Gehrig. The film, which premiered little more than a year after the real Gehrig passed away, gives a wholly positive portrait of the man. Of course that's not really a problem, but the film doesn't have a lot to say about him total. The baseball games themselves are given little weight, and it mostly just gives brief glimpses during various points in his career. The focal point is on Gehrig relationship with his wife, played by the always excessively charming Teresa Wright. This in itself is kept pretty simple, but to be fair it is appropriately sweet as well. The film technically does not get going until Gehrig's fatal diagnosis which is only the tail end of the film. This does allow it to end on a highpoint which is Gehrig's farewell speech, and to his credit Cooper completely delivers in the moment. The film is a pleasant enough, and moving film. It isn't much but it isn't bad either.
3.5/5

Punch-Drunk Love

Punch-Drunk Love seems like quite the odd switcheroo as he goes from his two risky endeavors of Boogie Nights and especially Magnolia to, an Adam Sandler romantic comedy? I suppose that in itself is a risk for someone trying to make a good film given that is infrequently the description used for films starring Sandler. Now in terms of Anderson his visual panache is evident as ever, but the intent of the film seems to be to be a successful romantic comedy. That isn't quite so simple, though that is the focus, in that Anderson uses this opportunity for more than that. Adam Sandler's performance has been described as against type, but it is anything but. Sandler's character keeps two of his most defining features, he's somewhat off-beat, and is quick to extreme outbursts of anger. Anderson decides to breakdown the typical Sandler type, and examine what would create such a man, and how such a man would really be like in a more realistic setting. It is fascinating to see Anderson unravel this all the while still succeeding in crafting an endearing romance, and an entertaining comedy, thanks in large part due to a Philip Seymour Hoffman as a villainous mattress salesman. It perhaps does not achieve the heights of his other films, but the end product still is one of a kind to the point that I'd love to see Anderson take on a few other "stock" film genres.
4.5/5

The Prestige

The Prestige stands along with Memento as one of Christopher Nolan's strongest films, for once again a fairly similar reason. Both films work brilliantly in their mind bending tricks, and the twists both contain are incredibly effective. The Prestige, as with, Memento is more than just trick despite being about magicians. The film stands well on its portrayal of a the rivalry between the two magicians, Borden, the one fueled by a professional motivation to strive for something new, the other, Angier, having a personal motivation to get some sort of revenge. Both are so well cast with Christian Bale as the brooding yet daring magician, and Hugh Jackman as the charismatic showman but safer individual. Their relationship is always maintained as paramount and the film explores both men's lives even in elements outside the rivalry. The film, as one would expect, is visually striking in capturing the visual detail, but also the magic of well magic. One of my favorite elements though is when it goes beyond a bit in the use of Nicholas Tesla that adds an extra bit of subtext given his own rivalry with Thomas Edison. The film succeeds in pulling the strings together to find a captivating conclusion but what I love most about it is that is not all there is to it. The twists only makes subsequent viewings all the more engaging as it earns it, and fitting for a film about magicians is it's  there in plain sight, you just don't notice it.
5/5

Pinocchio

Ah Pinocchio, what's not to love about this film? I love everything about I don't mind admitting. The animation is just beautiful, and I miss so much the days of the truly glorious painted background like you see in this film. It's just marvelous to look at with the highlight on that front having to be Monstro in all his glory. The story itself is of course straight forward as a puppet tries to learn what is to be a real boy, but hey that's more than enough. What I love is it hardly a sugar coated journey to be found as old Pinocchio has to avoid drinking, cigars, corrupt circus performers, and naturally child slavers before dealing with a man eating whale. It's not a simple fun adventure that some of that is to be had. It's gets dark and effectively so, which makes the more expected lighthearted Disney moments truly earned by the end. It's creates a rather grim world with some very terrifying aspects which make that warm ending we find something special.
5/5

The Patriot

The Patriot is the attempt at a prestige picture by Roland Emmerich who specializes in decidedly not so prestigious affairs as this film followed up Stargate. Independence Day, and Godzilla. Well I'll take the prestige attempt over those blockbusters, though I'll admit it has an advantage in that it's about the Revolutionary War. I won't lie, you set a film then and you already have my interest due to how few films are made about that war. Now this film decides to take that and basically also take 90's Mel Gibson to give us Braveheart meets the Revolutionary War. Not on that point the action here is also rather visceral and quite effective here. Like Braveheart it reduces the story mostly down to that of good and evil, with some more complex notions hanging by a few threads. This one matches this by giving us a downright viciously evil villain, well played by Jason Isaacs, for one man to seek his revenge against well participating in war. The film works in that's fun, even if it makes the Red coats more than a little Naziesque. The emotional currents in the story are often broad to be sure, yet still work largely due to Gibson's committed performance. Is it bloated? Sure. Is it the most intelligent film on the topic? No. Is it entertaining though? I'd say yes.
4/5

Star Wars: The Phantom Menace

The Phantom Menace is actually getting a bit of odd resurgence lately with some rather misguided individuals suddenly claiming the prequels, due to all their daring ideas, are better than the Force Awakens which was certainly derivative in many areas. Those individuals forget one thing though it's movie, you want a movie to be engaging the Force Awakens succeeded in that, the prequels on the other hand. Now on the point of Lucas's concepts there's many visuals of worlds. Visuals that are framed in always a banal fashion, so what's the point. We know nothing of these species and none of them house characters we care about it. Instead we get the infamous Jar Jar which can be used as a great example of how not to use comic relief in a film. How about our trusty humans? Well Ewan McGregor is wasted as young Obi-Wan, since they keep him in the ship, Liam Neeson begins his middle period between dramatic leading man, and action badass as doomed stoic mentor who is character who can only be described as stoic mentor. The worst of it comes in our pivotal character Anakin Skywalker the whole reason for the prequels existence really. Jake Lloyd perhaps unfortunately was the worst prominent child actor of all time. There needed to be at least an idea of Darth from the very beginning some conflict. Instead we get a cute kid, despite being slave. The majority of the action is weightless CGI, in some very poorly paced sequences the worst of them being the quite awful pod race sequence. However not all of the film is bad just most of it. Darth Maul looks cool, his light saber is cool, the song the duel of fates is cool, and his showdown with the Jedis is cool as well as has the only moment in the film that has any emotional weight to it. Unfortunately even that sequence is interspersed with other terrible scenes, but hey at least there were some new worlds, at least new in that they had a new name and establishing shot. No not really, who cares about concepts in the long run if you don't intertwine it with good storytelling.
1.5/5

The Parallax View

The Parallax View is a fairly memorable paranoid thriller form the seventies that benefits well from Alan J. Pakula's direction which keeps an ominous quality to every frame. In addition it has one of Warren Beatty's better performance at the center as a reporter trying to figure it all out. The film has some great sequences in there creating the right eeriness to the proceedings as though the whole world is hiding something. The first forty minutes or so are outstanding. Unfortunately though this is one where the more the plot develops the less interesting it becomes. The secrets uncovered a pretty standard, and then it requires Beatty's character to make some stupid decisions when really his guard guard should be at its highest. It in no way ruins the film, but this one simply does not build to something truly special.
4/5

Pickup on South Street

Pickup on South Street offers an intriguing film noir plot about a small time thief stumbling into the world of international espionage by chance. The film takes a particularly raw approach to some of the subject matter through its lead character Skip McCoy and Richard Widmark's performance that refuses to compromise his character. The depiction of his amorality is pretty effective as it only lets up in a way that feels believable through the machinations of the plot. Fuller knows how to direct a sequence and creates the grimy atmosphere of the film's story rather well. Also in its favor is a great supporting performance by Thelma Ritter as basically a professional snitch. Her final scene is amazing both in terms of her performance as well as Fuller's direction of it. There are few problems with the film since the other side characters and the villains are pretty forgettable.
4/5

The Public Enemy

Though Public Enemy has a few of the problematic tendencies of older films it more than makes up for it's compelling portrait of a thug's descent into the criminal underground. What really makes it so remarkable are two elements. William Wellman's excellent direction that never holds back on depiction the sheer cruelty of the world, and just how unpleasant the life becomes. Wellman's portrayal of the deaths in the film is especially effective in just how uncompromising it all is, with the violence seeming so meaningless and random at times. The other factor being James Cagney who's one of the best actors of the thirties. Cagney's work as usual has this energetic quality that enlivens the film yet he also does not hold back in showing just how low his character really is.
4.5/5

The Pumpkin Eater

I found the film not to be particularly engaging as it went about having stream of consciousness like approach to the story of a woman dealing with her husband's infidelities. The scenes are both simply yet ramble on often with some odd, surely stylistic, choices like a long focus on James Mason's mouth. I really don't mind an excess style, I do love me some David Lynch after all, but here I felt it failed to make a captivating film though it certainly tried.
2.5/5