Rating: The Good – 77.7 Genre: Comedy Duration: 103mins Director: Michael Lehmann Stars: Winona Ryder, Christian Slater, Shannen Doherty
“Dear diary, my teenage angst bullshit has a bodycount.” Recent addition to the school’s most popular clique, Winona Ryder, is growing ever wearier at the inane conventions of her new friends, three preppy girls all named Heather. In steps Christian Slater, a proactive cynic whose extreme reactions to the superiority complexes of the chosen few are the source of the some shockingly funny moments.
Like all great black comedy and unlike so many recently failed attempts, the darkness in Heathers is effortless and so the comedy is viciously hilarious. Daniel Waters’ delicious script is driven by a playful yet unyielding focus that slices fantastically at the indulgence of the high-school movie genre and indeed society’s broader indulgence of the precious order that its middle class teenagers had so mercilessly forged in the 1980’s in particular.
Ryder has never been better and for those who’ve only seen her Dracula-type performances, they should take a look at this. For such an acerbic story, she brings a level of reality and even warmth to the role that serves to make her incredulous narrations and interactions with the various characters all the funnier. Slater is at his best too, his slow burning charisma making him the perfect choice to play the self-anointed social equaliser. His character becomes both Waters’ main vessel and his target as he slowly works his way through the equally self-anointed social elite. Michael Lehmann’s directing is adequate but a little uninspired, which is actually quite a shame because this movie would otherwise be damn near perfect.
Rating: The Good – 84.1 Genre: Martial Arts Duration: 99 mins Director: Stephen Chow Stars: Stephen Chow, Wah Yuen, Qiu Yuen
Nothing will prepare you for the breadth of imagination, style, emotion, fight choreography, and just plain good story telling that Kung Fu Hustle serves up without interruption for 95 minutes. Writer/director/star/stunt man Stephen Chow is the best kept secret in the world of martial arts movie making. With his mind-boggling talent, he should be held in the same esteem as Quentin Tarantino but few outside the fans of the genre are aware of just how good this guy is. Chow leads the cast as a petty criminal determined to make a name for himself in a world of quirky yet powerful gangsters. However, things take a turn for the surreal when circumstances bring him to a tenement block on the outskirts of the city where the inhabitants are protected by an overbearing landlady and her husband, a couple who have more to them than meets the eye.
Chow’s characters inhabit a strange Kafkaesque world of Eastern noir where the traditional martial arts concept is injected with steroids. Super-fighters emerge when you’re least expecting it and do battle in some of the most innovative showdowns the medium has offered. This is the essence of a martial arts movie, a celebration of bold concepts, graceful momentum, and some thunderously good fight scenes. Surprisingly however, the story is just as good. Chow’s character is truly hilarious as he bumbles through the early scenes but undergoes real change as the story progresses. The film comes alive when the camera is on him and we’re rooting him for him all the way. There’s even a romantic angle thrown in that works a treat, allowing Chow to tie the whole thing together in a most satisfying fashion. There’s nothing about this masterpiece that isn’t fresh and inspiring and it’ll have you laughing and exhilarated from the first frame to the last.
Rating: The Good – 89.4 Genre: Jidaigeki, Drama Duration: 162 mins Director: Akira Kurosawa Stars: Tatsuya Nakadai, Tsutomu Yamazaki, Ken’ichi Hagiwara
Uniquely stunning psychological drama about a lowly thief and uncanny double for one of feudal Japan’s most powerful daimyos and his inwardly crushing effort to assume the place at the head of that great Lord’s armies after the latter is secretly assassinated. Akira Kurosawa’s lesser known masterpiece translating as “The Shadow Warrior”, is a soulful examination of character backdropped against starkly visceral concepts of death and afterlife set amidst some of the best choreographed action sequences on Kurosawa’s CV. Tatsuya Nakadai turns in yet another mind-blowing central performance as both the mighty General Takeda Shingen (known as “the Mountain) and his eventual impersonator, seamlessly deconstructing both his characters so that their boundaries ultimately phase in and out much like the film’s wider treatment of life and death, reality and unreality. As is usually the case with Kurosawa’s feudal epics, the story is overflowing with rich support players brought to life by a splendid cast with the boisterousness and social deference that has defined the quintessential jidaigeki performances. The historical context tantalises Kurosawa’s corporeal tome as the fascinating intrigue of the era imbues the plot with a steady drama. In place of a building tension in plot, the inner journey of Shingen’s “Kagemusha” takes centre stage crystallising in emotionally punctuating moments that exhibits the best of both Nakadai and Kurosawa’s crafts. Shinichirô Ikebe’s haunting score and/or the diegetic sounds of the various battles’ creakings become the glue to these moments leaving Kurosawa’s audacious vision to actualise around them in a manner not easily forgotten. One moment in particular, a mesmerising depiction of the Kagemusha finally “becoming” “the Mountain” in front of his troops and enemy alike, is a perfect coalescence of these smaller workings of genius and this master director’s unmatched broad visual aesthetic. Kagemusha nearly didn’t happen as Toho Studios ran into financial difficulties during production but thankfully George Lucas and Francis Ford Coppola stepped in and convinced 20th Century Fox to finance the remainder of the shoot. It’s no small thing to say that despite their own monumental achievements, that assistance still counts among their most important contributions to cinema.
Rating: The Good – 96.2 Genre: Horror Duration: 114 mins Director: Peter Weir Stars: Rachel Roberts, Anne-Louise Lambert, Vivean Gray
Quite simply the most haunting film you will ever see, this tale of three girls who walk up a rock formation never to be seen again forgoes ghouls, monsters, or ghosts in favour of an intangible force altogether more terrifying. Set in the early 1900’s, it follows a party of school girls from a prestigious boarding school who, accompanied by their teacher, visit the ancient rock formation known as Hanging Rock on a sunny Valentine’s Day afternoon. Weir gives the early stages to this film a hypnotic dreamlike flow as the teenage girls prepare for and embark upon their eagerly awaited trip. However, as the movie proceeds, this dreamlike haze begins to feel more and more like a spell cast on the girls and audience alike by an inexplicable force. As three of the party break away to be whisked up the rock by some irresistible pull, out of nowhere, the film takes a startling if not piercing turn.
Peter Weir’s ability to imbue the otherwise lifeless rock with an elemental and terrifying life-force that dwarfs anything our minds can conceive of is one of the truly great directorial feats even if it’s relatively unrecognised as such. However, looking back on Picnic at Hanging Rock after just watching it, what he does in this film seems far broader in scope, as you get the unavoidable feeling that you were truly mesmerised and lulled into a thick perceptual and conceptual haze. That you were lured up that rock yourself! This isn’t frightening in the typical shock horror movie sense. This is frightening in a much more primal and evolutionary sense as if Weir is tapping directly into the baser regions of our psyche. This is cinematic power at its most sophisticated.
Rating: The Good – 77.1 Genre: Thriller, Science Fiction Duration: 87 mins Director: Steve De Jarnatt Stars: Anthony Edwards, Mare Winningham, John Agar
Obscure thriller from the vault of hidden gems that follows a love struck young musician on a frantic chase through LA after he gets an anonymous tipoff about an imminent nuclear attack. As he tracks down the girl of his dreams in order to evacuate her, he encounters one curious character after another under a series of hectic circumstances. Anthony Edwards is the everyman at the centre of things and he’s a ball of nervous energy and dorky charm. As he whisks us through a succession of bizarre episodes like wheeling his unconscious girlfriend in a trolley down the streets of nighttime LA, his unassuming presence keeps the madcap hijinks grounded in a kind of tilted reality. Steve De Jarnatt and DP Theo van de Sande are to be commended for bathing the entire aesthetic in a soft blue neon glow. LA looks every bit the fantasy world the story demands and it’s rather pleasing to behold too. Several other factors work towards a successful movie experience but none more effectively than Tangerine Dream’s intense electronic harmonies. It’s what we came to expect from them back in the day and like Sorcerer or Near Dark, they catch the movie in a current of unabated tension. There’s no doubting that Miracle Mile is a weird ride, kind of like John Landis’ Into the Night on mushrooms, but it’s also uniquely affecting and brimming with warped fun.
Sidney Lumet’s second collaboration with Sean Connery was for this inspired & subtly satirical story of surveillance, perception, & a recently paroled thief’s last big job. Connery is that thief and he seems to be genuinely enjoying himself in what must be one of his best roles. His character is proud and tough but generally good-hearted and you can’t help but weight in behind his optimism and certainty that he’s masterminded the perfect heist. The team he assembles are just as interesting with Christopher Walken’s electronics expert & Martin Balsam’s camped up merchandise valuer being the picks of the bunch.
The Anderson Tapes is imbued with that peculiar 1970’s paranoid vibe but there’s a much more light-hearted, satirical, and even comical sentiment insinuated into the narrative and in particular into those surveillance sequences which recurrently punctuate it. It makes for a highly original movie and one that has really been under-appreciated in terms of the subtle undertones Lumet and co. bring to the party.
Rating: The Good – 88.4 Genre: Drama Duration: 114 mins Director: Ted Kotcheff Stars: Donald Pleasence, Gary Bond, Chips Rafferty
There are films you watch and there are films you experience and this once lost classic of Australian cinema belongs, without any doubt, to the latter category. Once entitled “Outback”, during a dismally unsuccessful international distribution, Ted Kotcheff’s blisteringly pessimistic examination of the human condition – not to mention adaptation of Kenneth Cook’s autobiographical novel (!) – was rediscovered and re-released in 2009 to a very different and much more intrigued public to the one that decried it in 1971. With an opening shot that lands us lost in a desperate slow panning 360 degree scan of the Australian desert, we find our narrative vehicle in the form of a snobby school teacher John Grant, whose prim and polished exterior belies the agonising realisation lying on the horizon of his mind. With the Christmas break upon him, he leaves the one-horse town in which (rather symbolically) he is state bonded to teach for a definite period of time, and heads off for Sydney to ostensibly visit his girlfriend. However, when he lays over in the working man’s outpost town of Bundanyabba (referred to simply as “the Yabba”), his life’s previously creeping trajectory quickly crystallises into an extended five day session of drunken depravity wherein he descends into a nightmare of both physical and existential entrapment and the baser side to humanity.
Thematically, what Kotcheff does here is a stunning triumph of reversalism and paradox. Within Grant’s rapidly closing parameters of existence, pastimes become gateways to excruciatingly endless stretches in time, the vast open territory of the Yabba and its hinterland becomes a sweaty cage, the relentless hospitality of its townsfolk sharpens into a belligerently wielded weapon, a horrifying alcohol-fueled nighttime slaughter of kangaroos morphs into a balletic even hypnotic ritual of hopelessness, while sensibility and sexuality are suddenly and violently reversed. However, that it all wraps up in a surgically precise metaphor for Grant’s life and for that of a generation of young men with no real prospects is even more astounding. His layover in the Yabba becomes a mythical journey as epic as any legend of Ancient Greece and equally poetic too. Donald Pleasence’s white hot presence as a disgraced alcoholic doctor who has shunned society by moving to the Yabba where his indiscretions are as oblivious to the people as they are to them is the wise man of this fable but also its monster incarnate. He sits slightly above the rest of the primal characters and expounds the realities of existence to Grant – comments on civilisation, “a vanity spawned by fear”, being the blunt edge to the film’s political statement. It’s an immense turn and maybe even the finest in the great actor’s distinguished career. Gary Bond’s central performance is the real hero though and with a face perfectly sculpted for a film like this – just as Peter O’Toole’s was for Lawrence of Arabia – it’s difficult to imagine anyone else pulling off what he did here. He gives Grant’s sprawling descent an edged realism that haunts as deeply as what Kotcheff was doing behind the camera.
That said, the last word should be saved for how this masterpiece sounds for Wake in Fright is perhaps one of the most enchantingly sounding films ever made. From John Scott’s minimalist score which always seems to know more than the audience, the heavy accents of the characters, to the everyday sounds of the Yabba and its inhabitants’ activities, it’s a deeply affecting piece of production that meets the grainy visual textures and harsh conceptual qualities of the film head on. Yes, Wake in Fright is indeed an experience and with qualities such as these, it’s a profoundly transfixing one at that. So much so that it shares the same rarefied place in Australian and world cinema as films such as Picnic at Hanging Rock and Walkabout.
Rating: The Good – 87.8 Genre: Drama, Satire Duration: 121 mins Director: Sidney Lumet Stars: Faye Dunaway, William Holden, Peter Finch, Robert Duvall
Surely one of the most complete and effective satires, Network is a delicious take on the business of television programming, human relationships, and how both feed and feed off the impartial narratives that so many shows are built around. Peter Finch stars as the disturbed news anchor who upon hearing that he’s been fired launches an attack on his network live on air. So good are the ratings that the executives (an emotionally vacant yet ruthless Faye Dunaway and an equally ambitious Robert Duvall) order head of the news division William Holden to build a show around his deteriorating friend’s rantings. The script is pure gold with some of cinema’s most subtly cutting and scathing commentary threaded throughout. The characters are all in different ways reflections of the greed and selfishness of the modern world and are as good as the actors inhabiting them. The film is genuinely hilarious with Finch’s outbursts being the highlights. Lumet’s delicate touch is all over this and it is he who allows Paddy Chayefsky’s searing script to come to life in as stimulating a fashion as it does. Watch out for Ned Beatty’s thunderous cameo which ultimately more than anything else sets the tone for this cinematic monument.
Rating: The Good – 81.1 Genre: Mystery Duration: 112 mins Director: Richard Kelly Stars: Jake Gyllenhaal, Jena Malone, Mary McDonnell
Writer/director Richard Kelly’s sci-fi mystery is easily one of the most affecting and originally conceived science fiction movies to address the issue of time. It follows (literally) the troubled yet highly intelligent young Donnie Darko (played by Jake Gyllenhaal) through a period of time when his strange visions and conversations with what seem to be an 6-foot imaginary rabbit have alarmed his parents and seen him sent to therapy. As the visions continue however, Donnie begins to see a pattern that ties into events which are occurring in the real world and ultimately leads him to a key choice that will define his future.
Donnie Darko is a superb film that effortlessly balances the more weighty conceptual content with a cheeky wit and dark humor. There are some delightful exchanges between the various characters which make the whole experience a treat to the ears. But of course, there is much more going on beneath the surface and Kelly switches tone almost instantaneously at times but also seamlessly. The film is coloured with an intense but appropriate film-making style and there are some truly beautiful moments of cinematic self-reference that feed perfectly into Darko’s story such as the sequence in the theatre where images from The Evil Dead bleed into the narrative. The twist is not so much a twist as it is a methodical unveiling which requires the audience to step up and see it (it won’t come to more passive audiences).
Gyllenhaal is extraordinary in a title role that required a lot from its actor and there are a host of other top actors rounding out the supporting cast. The film’s soundtrack gives the proceedings a nice era-specific bedding and the politics of that era become an interesting and informative backdrop to the turmoil (both inner and outer) which is defining the various characters’ lives.
Rating: The Good – 90.1 Genre: Musical Duration: 123 mins Director: Bob Fosse Stars: Roy Scheider, Jessica Lange, Leland Palmer
Bob Fosse’s autobiographical existential musical is an astoundingly profound and honest exercise in self confrontation not to mention one of Stanley Kubrick’s favourite films! It’s also a veritable masterclass in choreography, music, and story telling. All that Jazz tells the compelling tale of a musical director whose drug fuelled life is steadily disintegrating as he struggles to balance the demands of his ego with those of his family, girlfriend, and ultimately his body. Roy Scheider is nothing short of mesmerising in the lead role, giving the performance of his career, but he is ably helped by a strong supporting cast including Jessica Lange.
Rating: The Good – 89.7 Genre: Adventure, Drama Duration: 158 mins Director: Werner Herzog Stars: Klaus Kinski, Claudia Cardinale, José Lewgoy
Werner Herzog’s masterwork is a stunning achievement both in terms of the logistics involved in making it (it was shot on location in some of the roughest terrain and on actual river rapids and yes, they actually did drag a boat over a mountain!) and the statement on mankind it becomes. The typically brilliant yet unpredictable Klaus Kinski headlines as Fitzcarraldo, an opera worshipping and eccentric businessman who attempts to exploit an inaccessible resource of rubber trees by dragging a steam ship over a small mountain to a parallel river. Driven not by monetary greed exactly, he is more concerned with doing something monumental and beautiful for the jungle which he loves in his own strange manner. The way in which he ultimately might go about building his monument takes many twists and turns and requires severe shifts in perspective but that is the ultimate point of this extraordinary film as his and the audiences’ perspective slowly become one. This is cinema at its most invigorating as Kinski and Herzog combine yet again in an artistic marathon. The former is electric as the white suited, blonde adventurer while Herzog frames it all in a way only he can as he brings both the jungle and story to life in equally impressive measures.
Rating: The Good – 91.6 Genre: Adventure Duration: 93 mins Director: Werner Herzog Stars: Klaus Kinski, Ruy Guerra, Helena Rojo
Werner Herzog’s seminal film was as gruelling a shoot as Fitzcarraldo was thanks to on-location demands and the typically erratic behaviour of its brilliant but wildly eccentric lead Klaus Kinski. However, it is a memorable master work that comes across as a near perfect blend of Malick-like exploration and Kurosawa-like adventure.
Set in the late 16th century, the story follows a small scouting party who, part of Pizarro’s larger expedition, are sent ahead on the inhospitable Amazon to look for the fabled city of gold, El Dorado. Kinski plays the second in command of this party, Aguirre, who soon usurps authority, announces his intent to break ties with the expedition and indeed the Spanish Crown, forms a rag-tag new society built around the prospect of the golden city, and installs a puppet leader as its figurehead.
Despite the seemingly wide reach of its premise, Aguirre becomes a deeply introspective affair that is confined to the greedy irrational ambitions of the mind and soul. Kinski is immense as the self-styled leader upon who’s head even the crown of emperor he deems unworthy. He bestrides the raft on which he takes the remainder of his party ever deeper into the Amazon, like an imperious ruler and in whose eyes we see only endless ambition and verbose self-regard. This is the raw power of cinema harnessed through the ragings of nature and Herzog’s and Kinski’s respective depth of ability. And like all such works of art, it must be seen to be understood.