100 Movies - No. 100: Broadcast News

100. Broadcast News (1987)
Comedy, Drama, Romance, 133 minutes
Directed by James L. Brooks
Starring William Hurt, Holly Hunter, Albert Brooks and Jack Nicholson

If you watch television at all, you have almost certainly seen something that James L. Brooks was involved in. He was a writer on Taxi, Lou Grant, Rhoda and the Mary Tyler Moore show and continues to contribute to The Simpsons. His first film, Terms of Endearment, took home five Oscars, with Brooks being credited for three of them.

Broadcast News is a blend of comedy, drama and romance. When I first watched it over 20 years ago, I was disappointed. I didn't think it was interesting, funny or moving in any way. It's strange how our tastes can change over the years. I think I appreciate the film now because I know more about life and can relate to some of the events.

Two brief scenes at the start of the film introduce us to the characters of Tom and Jane. We learn that Tom doesn't mind being beaten up at school because he knows he will have a better career than any of the bullies he has to deal with. Jane shows us a glimpse of her character as she chastises her father for his imprecise use of words.

The story continues with the adult Jane (Hunter) giving a speech about news coverage. She's dismayed at how the networks dumb-down information to appease the audience. When she demonstrates her point with a mindless news article, her audience is more responsive than at any other point in her speech.The only person who admires her presentation is Tom (Hurt) and she asks him to dinner. He presents the news, but reveals that he knows very little about the stories he talks about. Despite that, his employers love what he does and pay him large sums of money.

Jane is obsessed with her job as a producer and can't respect people who are bad at their job. Any chance of romance is ended when she speaks her mind to Tom. She repels men. Hunter got the part which was intended for Debra Winger, but it's hard to imagine anyone else in the role. Her accent and the determination with which her character pursues her career reminds me of Jodie Foster's performance in The Silence of the Lambs.

How often do people succeed on charm or because they have the right look? The film explores that theme throughout as we see Tom take every opportunity that presents itself. In contrast, we see a gifted reporter, Aaron (Brooks), receive no recognition from anyone with the exception of Jane. The two have a deep friendship and confide in each other regularly.

James L. Brooks has a background in news and portrays the high-paced environment to good effect. There's an hilarious scene early in the film in which Jane edits a story just a few seconds before it is due to air, and her assistant (Joan Cusack) has to dodge all manner of unlikely obstacles to deliver the tape on time. Although it's a funny scene, it shows how much pressure is involved in the news business.

Another exceptional scene shows Tom anchoring the news for the first time. Jane knows that he is likely to stumble if he has to think up questions for himself, so she takes care of all the content. Aaron, who is at home getting drunk after being overlooked again, calls in with information which Jane feeds to Tom while he is on the air. The result is a professional broadcast in which Tom is made to look highly competent.

There are a lot of similar scenes which give us a real understanding of how the news business might work. We feel part of that world. However, the film shines because of the acting and the dark comedy. Brooks is the source of much of the humor, but Hurt and Hunter play their parts well. Jack Nicholson has a small role and pulls it off perfectly as you would expect.

There is a love triangle of sorts. Tom is successful, but superficial, and he is interested in Jane. Part of his interest appears to be driven by what she might do for his career. Aaron can see Tom's shortcomings and thinks that he's a more suitable partner for Jane. He clearly loves her as well as being her best friend. Jane is torn between Tom's looks and success, and Aaron's friendship and competence. I'll let you find out the resolution for yourself.

Criterion's Blu-ray presentation is excellent and the film looks better than it ever has. The special features include recent interviews with James L. Brooks and the cast. One of the most interesting features is an alternate ending with comments from Brooks.

Broadcast News is unusual in that it manages to make a technical job appear exciting. I wanted to see what would happen to the three main characters. It's funny throughout in an intelligent way and the romantic element will please some viewers. I can't believe that I failed to see its brilliance when I first watched it over 20 years ago.

If you like Broadcast News:

Director James L. Brooks received much acclaim for his debut, Terms of Endearment, but I must admit that I haven't got around to seeing it yet. I aim to remedy that at the earliest opportunity. One Brooks film that I can heartily recommend is As Good as It Gets, starring Jack Nicholson, Helen Hunt and Greg Kinnear. Like Broadcast News, it expertly blends drama, comedy and romance.

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100 Movies - No. 99: No Country for Old Men

99. No Country for Old Men (2007)
Crime, Drama, Thriller, 122 minutes
Directed by Joel and Ethan Coen
Starring Tommy Lee Jones, Javier Bardem and Josh Brolin

Oscar ceremonies are sometimes dominated by one or two films because the opposition is weak, but that definitely wasn't the case in 2008. Nominees included No Country for Old Men, There Will Be Blood, Juno, The Diving Bell and the Butterfly, Ratatouille, Once, The Bourne Ultimatum, Into the Wild, Atonement, Michael Clayton, Eastern Promises and American Gangster.

I was torn at the time because I couldn't decide whether I wanted There Will Be Blood or No Country for Old Men to win for Best Picture. In hindsight, my two favorite films from that year are Juno and No Country for Old Men. I think the Academy got it right for once by awarding No Country for Old Men the Best Picture Oscar and Daniel Day-Lewis Leading Actor.

So why do I think that No Country for Old Men deserved its win?

The film contains so many strong elements. It gave us three memorable characters and expertly combined their three viewpoints to give us a compelling story. Roger Deakins did another wonderful job showing us the bleak Texas landscape, while the direction and writing were both superb.

Llewelyn Moss (Brolin) makes a discovery while hunting for antelope. After tracking an injured animal, he finds what appears to be the result of a failed drug deal. Five trucks are surrounded by corpses and he deduces that the last man standing would have looked for shade. He eventually locates the final corpse and finds a case containing two million dollars. Moss lives in a trailer with his wife and the money represents a chance to completely change his life.

The most interesting character is Anton Chigurh (Bardem). We see him captured by police at the start of the film, but he escapes and kills a deputy in the process. He is extremely violent and his motives are unclear. At times he appears supernatural in the way he evades capture. Is he supposed to represent Death or the Devil? Bardem makes Chigurh one of the most memorable villains ever to appear on screen. There's a scene which rivals Tarantino's farmhouse scene in Inglourious Basterds in terms of tension. Chigurh has a conversation with a gas station owner and it ends with a coin flip. The scene is both absurd and chilling at the same time. We know what's at stake.

The other major character is Sheriff Ed Tom Bell (Jones). He's old, wise and extremely competent. Some of his choices show that he's more concerned with self-preservation than pursuing criminals, but he somehow gets the job done. One of his strengths is the ability to reconstruct crime scenes. He has a dry sense of humor and uncanny instincts.

The first part of the story focuses on Moss. He's an experienced tracker and a Vietnam veteran and we see him trying to evade pursuit. At first, he doesn't know who will be coming after him, but eventually learns that it's Chigurh. Instead of simply leaving the country, he decides to face Chigurh himself. That might seem to be a stupid choice, but Moss does have some intelligence and appears able to take care of himself.

Chigurh also seems highly competent and we get the sense that he's being doing what he does for a very long time. His pursuit is relentless. When he is injured, he's able to take care of his own wounds. He does bleed, but there's still the sense that he either is, or he at least represents, a supernatural force.

I won't reveal any more of the plot. I have heard two complaints about the film. One is the level of violence present and the other is the unusual ending. I think the ending is partly showing how unpredictable life can be, but I understand the complaints. I thought the ending was appropriate and my only regret was that I couldn't watch these characters for longer.

No Country for Old Men is many things. On the surface, it's the story of an extended chase. The Coen brothers said that it is a story of a good, evil and something between the two. Moss can be perceived as good or evil, but he's definitely committing a crime.

Some of the scenes require us to pay close attention to the events and contain very little dialogue. It reminds me of the opening sequence in There Will Be Blood in that way. It succeeds because of the writing and the tension that's present throughout the story. If you enjoy thrillers, this is one of the best I have seen.

If you like No Country for Old Men:

The Coen brothers have been responsible for a lot of good films and a few which don't quite hit the mark. If I were asked to choose their best work it would either be Fargo or No Country for Old Men. Fargo is similar in structure because it includes a competent police officer, evil criminals and a protagonist who we root for despite the fact that he's breaking the law. Fargo is more comedic in tone, but both films are among the best I have ever seen.

Another good film adapted from a Cormac McCarthy novel is The Road, starring Viggo Mortensen. It's an extremely touching post-apocalyptic story showing the love between a father and son.

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100 Movies - No. 98: The Descendants

98. The Descendants (2011)
Comedy, Drama, 115 minutes
Directed by Alexander Payne
Starring George Clooney, Shailene Woodley, Nick Krause, Amara Miller and Robert Forster

I wondered whether to include The Descendants in my Top 100 series because I reviewed it a month ago when the Blu-ray was released, but after watching it seven times, it has to be included. It's pushing for a place in my Top 10.

It took me about two minutes to decide that The Descendants was going to be my kind of film. It happened during Clooney's opening voice-over in which he observed that, just because they live in paradise, Hawaiians aren't exempt from the usual problems people face. That statement caught my attention because it's true, but it also alerted me to the possibility that the script would be both truthful and more intelligent than most.

Matt King (Clooney) is the kind of character that I can identify with. He's a lawyer and his job is more important to him than his family. He regularly travels to neighboring islands on business and hasn't had a proper relationship with his wife and two daughters for several years. When his wife has an accident which places her in a coma, Matt's life changes instantly. He has to be a father to his daughters and he's completely unprepared. So many people put their career first and their family relationships suffer as a result.

His younger daughter, Scottie (Miller), is 10 years old. Matt last took care of her when she was three. His other daughter, Alex (Woodley), is 17 and is in a boarding school to help her overcome alcohol and drug problems. When Matt learns that his wife will never wake up, he takes Scottie to collect Alex from the school. Alex is drunk when he turns up and openly defies him early in the film.

Place yourself in Matt's situation for a moment. How would you attempt to console your daughters? What would help you establish some kind of connection with them? If you're all they have left, how will you make them feel as if everything is going to be all right?

Matt is annoyed with Alex because she argued with her mother the last time they spoke, but her reasoning is sound; she found out that her mother was cheating on Matt. Alex insists that her boyfriend, Sid (Krause), stays with her while she is home. Sid appears to be fairly dumb and occasionally stoned. Matt is not happy.

The story really takes off when Matt takes Sid and his daughters to a neighboring island in search of his wife's lover. Another story thread explains that Matt and his many cousins are descended from Hawaiian royalty and own a piece of land worth around $500 million. Matt is the sole trustee and must organize the group of cousins and decide who to sell the land to. A complication emerges later in the story which could have a major impact on his decision, but I won't reveal any more of the film's secrets.

I've watched Clooney develop as an actor over the past few years. He used to be criticized for "always being Clooney", but I think he's proved that there's a lot more to him. His timing is excellent and he always delivers his comedic lines well, but he has to show considerable range as Matt. Many of the scenes require him to show his feelings without the use of words. He goes through a lot of emotions during the film and pulls it off perfectly whether the situations are positive or negative. Notice the look in his eyes when Alex and Sid speak up for him in the hospital room after Elizabeth's father (Forster) accuses him of being a bad husband. Clooney's performance is human, real, touching, emotional and understandable. I thought he should have won the Oscar for his performance in Up in the Air, but this latest oversight is a glaring error.

What I really liked about the film was the character development. We see Matt grow as expected, but I was stunned by the development shown in Alex and Sid. They both have more to them than meets the eye and I ended up liking both characters tremendously.  If Alex were my daughter, I would be proud of how supportive she becomes and would love the way she takes her little sister under her wing.

The conclusions that Matt reaches by the end of the story seem plausible and fit well with his development as a father and as a responsible adult. I might have reached the same conclusions if I were placed in his shoes.

You'll definitely laugh during The Descendants and you may even be moved to tears.

Alexander Payne, Nat Faxon and Jim Rash won the Oscar for their adaptation of Kaui Hart Hemmings' book and it was thoroughly deserved. It's rare to witness a film with such intelligent writing. The characters and situations are always believable. If you were in their position, you might find yourself behaving in the same way.

If you like The Descendants:

Clooney's performance is arguably the best of the career. I always have trouble deciding whether his work in Up in the Air is better. It's a close call and not worth worrying about.

Another good story which includes the theme of learning how to be a father is The Pursuit of Happyness. It's probably the performance of Smith's career thus far.

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100 Movies - No. 97: Apollo 13

97. Apollo 13 (1995)
Drama, History, 140 minutes
Directed by Ron Howard
Starring Tom Hanks, Ed Harris, Gary Sinise, Kevin Bacon and Bill Paxton

"Houston, we have a problem."

Are you old enough to remember the space race and the first time an American set foot on the Moon? The Apollo 11 crew achieved that feat in July, 1969 and were followed by Apollo 12 in November, 1969. Apollo 13 attempted the trip in 1970, but an accident early in the mission prevented the landing. Instead, the mission became one of survival. Would the three astronauts make it back to Earth?

Jim Lovell (Hanks), Fred Haise (Paxton) and Ken Mattingly (Sinise) were set to make the trip, but Mattingly was replaced by Jack Swigert (Bacon), because it was feared that Mattingly might develop the measles on the trip. Gene Kranz (Harris) was in charge of Mission Control on the ground.

I remember the broadcasts of the Apollo 11 trip, but the American public were not particularly interested in seeing live footage by the time the Apollo 13 mission took place. We see the crew filming each other for TV, but they don't know that the pictures aren't being shown live. That all changed the moment the accident occurred. Instead of being a boring event, lives were suddenly at stake. TV crews scrambled to cover the unfolding events.

Hanks, Harris, Paxton, Sinise and Bacon are at their best in Apollo 13. We see the importance of trusting in the overall ability of the team, both in space and back in Houston. Director Ron Howard does a good job of showing how events aboard the ship affected things on the ground. The accident gave both teams several problems to overcome and it wouldn't have happened if either team had failed to contribute.

It's hard to imagine three men sitting in a confined space holding our attention for over two hours, but that's exactly what happens. You may not know how the original events unfolded, but the tension builds effectively even if you know how the story will end.

The overall look of the movie feels authentic. Shots of space are particularly effective. It's almost impossible to listen to the sound of the launch without feeling moved in some way.

The movie is structured in such a way that we feel that the three astronauts have something to lose other than their own lives. The first 30 minutes show Lovell interacting with his wife, Marylin (Kathleen Quinlan), and their children. We also see other crew members and it gives us a glimpse of their personalities. This segment is so effective and adds a lot to the remainder of the movie. Howard makes us feel as though we are back in 1970 and that we are part of Lovell's family or immediate friends.

If you like Apollo 13:

There are plenty of movies which take place in space, but 2001: A Space Odyssey captures the same feel as Apollo 13 for some of the film. It shows in detail how astronauts adapt and what some of the dangers of space flight can be.

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100 Movies - No. 96: Bottle Rocket

96. Bottle Rocket (1996)
Comedy, Crime, Romance, 91 minutes
Directed by Wes Anderson
Starring Luke Wilson, Owen Wilson, James Caan and Robert Musgrave

Bottle Rocket is one of the hardest movies I've ever decided to review. The story isn't great and the acting isn't meant to be taken seriously. There aren't any memorable messages or profound events. So why has it become one of my favorite comedies?

It's all about tone and style.

Director Wes Anderson doesn't look for the obvious laugh. It doesn't matter whether the story makes sense or whether events fit perfectly. Anderson reminds me of David Lynch in some ways, but the subject matter is generally much lighter. He creates worlds, and there's something not quite right with those worlds. It makes them fascinating places to visit.

Bottle Rocket begins with Anthony (Luke Wilson) feigning escape from a mental institution which he attends voluntarily. He does this to make things more exciting for his friend, Dignan (Owen Wilson). Dignan is an interesting character. He's capable of doing idiotic things, but he's not exactly stupid. He just can't see the danger in some of the bizarre things he attempts. We are shown his 75-year plan, outlining all the goals he's aiming to reach over the course of his life.

Dignan sees himself as a criminal mastermind and practices by helping Anthony rob his own house. The pair hang around with their friend, Bob (Musgrove), who drives their getaway car because he's the only one of the group who owns a car. The group proves how utterly inept it is during a bookstore robbery. They are so bad that it works well as comedy. After the robbery, the group decides to flee the town and hides in a motel.

Anthony falls in love with a housekeeper at the motel, despite the fact that she can barely speak any English. He does his best to communicate and occasionally enlists the help of someone to translate. That leads to major confusion at one point in the movie.

Dignan eventually introduces the gang to Mr. Henry (Caan), who once fired him from his job as a landscape gardener. Dignan believes that Henry's company is just a front and that he's also a criminal mastermind. He wants to prove to Henry that he can pull off robberies of his own and so he plans a raid on a storage facility with Anthony, Bob and some of Henry's friends. This sequence is ridiculous and highlights just how idiotic Dignan can be. When the robbery is interrupted and they have been seen, he instructs the group to put on their bandit masks.

Bottle Rocket marked the debuts of Luke and Owen Wilson, and Owen Wilson helped Wes Anderson with the screenplay. It's a film made by a group of friends who had known each other since they met in school. The film was rejected by the Sundance Festival, and initial test screenings were a disaster. It appeared that nobody wanted to embrace Anderson's quirky sense of humor. However, over the years, Bottle Rocket has gained a lot of fans.

Wes Anderson's career has blossomed since his debut, but he's always retained that quirky style and tone. Bottle Rocket isn't perfect, but it's significant to me because it's where everything began for Anderson.

If you like Bottle Rocket:

Anderson's work is an acquired taste. Like many directors, he trusts certain actors and works with them on a regular basis. I would honestly recommend all of his films if you are a fan of Bottle Rocket. Start with Rushmore and The Royal Tenenbaums.

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100 Movies - No. 95: The World's Fastest Indian

95. The World's Fastest Indian (2005)
Biography, Drama, Sport, 127 minutes
Directed by Roger Donaldson
Starring Anthony Hopkins and Diane Ladd

This film wasn't on my radar until a friend recommended it. The title seemed meaningless and I really couldn't imagine what it might be about. As a fan of Anthony Hopkins, I decided to buy it and give it a chance.

Good decision.

Forget that it's labeled as a sports movie or a biography. It's a great human interest story showing how passion and determination can overcome the odds.

The film opens with a shot of Burt Munro (Hopkins) waking up. Until he speaks, he's just Anthony Hopkins. Then the New Zealand accent is revealed and Munro starts to emerge.

Burt Munro lived in Invercargill, New Zealand and had a dream to go to Bonneville Flats, Utah, to see how fast his motorcycle could go. He tinkered with the bike for 25 years to make it as fast as possible. He was born in 1899 and first visited Bonneville in 1956, setting the speed record for bikes under 1,000cc in 1967. So while the choice of Hopkins looks strange, he was the right age and a perfect fit for the part.

Munro held several speed records in New Zealand before making his first trip and was something of a celebrity. He annoyed his neighbors by working on his bike in the early mornings and urinating on his lemon tree. He was quite a character.

Hopkins plays him as an eccentric with passion for his hobby and a lot of charm. He has the ability to win people over to his way of thinking and borrows the money he needs to make the trip to the US from the local bank. He also has heart trouble, but hides that from most people. His honesty and the way he accepts when he is wrong makes him easy to like.

The film really takes off when he makes the trip. He travels by boat and pays for the passage by working as its chef. After arriving in the US, he has to face the reality of the high prices and the chance that people will try to rip him off. He books into a motel, more often used by prostitutes, and befriends the night clerk.

Although he's initially naive, he turns out to be perfectly capable of surviving in his new surroundings.

The movie works because Munro is so likable. If you only know Anthony Hopkins for his portrayal of Hannibal Lecter in The Silence of the Lambs, you're in for a surprise. Hopkins is easily one of my favorite actors because he's so versatile and you often don't notice that he is acting. He brings a lot of warmth to the character of Munro and there are many humorous and touching moments. I promise you that you'll root for Munro and care about what happens to him.

The special features show the real Burt Munro and Hopkins played him perfectly. Hopkins is also on record as saying it's probably the best thing he has ever done. Quite a statement when you look at the roles he has had throughout his career. I don't quite agree, but it's certainly up there.

This is one of those films that shouldn't work. Few people would think they have any interest in the subject matter, but the story and the acting make you care. You don't have to be a fan of bikes. Just give this a chance and see what magic Hopkins has worked to bring Munro's character back to life.

Director Roger Donaldson had wanted to film this story for 25 years. His script is excellent and his passion for the subject matter comes shining through. 

If you like The World's Fastest Indian:

In many ways, The World's Fastest Indian reminds me of The Straight Story, directed by David Lynch. Both movies tell the story of a journey and focus on an older character. Each man interacts with the people he meets along the way and we see the good side of humanity.

Anthony Hopkins is surely one of the best actors working today. If you want to explore some of his other performances, consider The Edge, The Remains of the Day, 84 Charing Cross Road and The Elephant Man.

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100 Movies - No. 94: Wings of Desire

94. Wings of Desire (1987)
Fantasy, Drama, Romance, 128 minutes, German, English, French and Turkish language
Directed by Wim Wenders
Starring Bruno Ganz, Solveig Dommartin, Peter Falk and Otto Sander

The bulk of the film is in German, although some dialogue is in English. There are also occasional moments in French and Turkish.

Although this review contains spoilers, there's not really much to spoil. Each viewer will get something different from the film. The events are merely a loose framework used to provoke thought.

Wings of Desire is not an easy film to watch. It requires a lot of patience and you'll get very little from it if you aren't prepared to think. It's one of those stories that shows you events or allows you to hear thoughts, and then you make of it what you will. There isn't a conventional plot at all. If you watched The Tree of Life and had problems with its abstract narrative, Wings of Desire will test you even more. It's almost like a poem.

The story involves two immortal angels, Cassiel (Sander) and Damiel (Ganz), who have existed for millennia. The setting is Berlin, but the angels knew the city before humans ever existed. They remember how the river found its bed and how life as we know it began. They are serious and rarely show any emotion. Perhaps they have seen everything and it no longer affects them, or is their dispassionate outlook part of their very nature?

Their job is to observe humans and we see through their eyes in black and white. They can hear the thoughts of everyone they pass. Occasionally, when someone is sad or contemplating a desperate act, the angels intervene by touching the shoulder of the person in trouble. This gives that person a sense of hope and well being, but there's no guarantee the person will act on it. Children are able to see angels. Perhaps their innocence and lack of cynicism allows them to see what adults cannot?

Thoughts are usually presented as whispers, so the majority of the film feels very peaceful and relaxing. From the angels' point of view, it can be noisy when a large number of people are concentrated in a small space. We see some of these encounters on the street and in a public library. It's not clear why the angels are watching. Yes, they sometimes intervene and provide comfort, but they are mainly observing human behavior. They sometimes record unusual behavior in a notebook and talk about it among themselves.

As I mentioned, the film doesn't offer much guidance and won't tell you what conclusions to draw from the behavior of the angels. It will mean something different to everybody.

There are two other elements woven into the mix:

The first shows Marion (Dommartin), who is a female trapeze artist. She is temporarily working at a local circus and we discover from her thoughts that she's unhappy and lonely. She desperately wants to be loved. When she's alone, she listens to Nick Cave's music and dreams of one day finding someone.


The other thread involves Peter Falk, playing himself. His inclusion was a stroke of genius. Falk thinks in unusual ways and can sense the presence of angels. He talks to Damiel at one point and says that he wishes Damiel could experience things as he does. The pleasure of drinking coffee, smoking, or rubbing his hands together when he's cold. He's not afraid to talk to angels even though other people look at him as if he is crazy. The reason that he can do this is startling, but I won't reveal it here.

After about 90 minutes of showing us the angels in action, the film takes a sudden turn. Damiel has been observing Marion and has fallen in love with her. He wants to take the plunge and become a mortal human being in the hope that she will return his feelings. He wants to feel, touch, smell, taste and experience what it is like to really be alive.

Nick Cave has another part to play in the conclusion and we hear his thoughts while he is performing. His final song is From Her to Eternity, which is extremely appropriate in the context of the story.

The film switches from black and white to color when we see events from the viewpoint of humans rather than angels. It's particularly effective when Damiel is able to experience life fully for the first time.

For the majority of the film, the camera shows us what the angels see. This has the effect of making us observers too, and we can imagine what it would be like to witness so much joy and suffering, while only occasionally intervening. What is Wim Wenders asking us to see? Is it an invitation to contemplate the meaning of our existence?

If you like Wings of Desire:

Wim Wenders directed another story set in the same world called Faraway, So Close, also starring Bruno Ganz and Otto Sander as Damiel and Cassiel. I haven't seen it yet, but will do so as soon as I track down a copy.

If you enjoy contemplating the meaning of existence and how everything works, take a look at The Double Life of Veronique, directed by Krzysztof Kieslowski.

If you want to explore other films by Wim Wenders, I would recommend Paris, Texas, starring Harry Dean Stanton and Nastassja Kinksi.

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100 Movies - No. 93: The Warriors

93. The Warriors (1979)
Action, Crime, Thriller, 92 minutes
Directed by Walter Hill
Starring Michael Beck, James Remar, David Patrick Kelly and Deborah Van Valkenburgh

Sometimes I see a movie which I shouldn't like, and I end up loving it. The Warriors is a story about nine gang members who are struggling to reach their home turf. There's hardly any dialogue and the actors are largely unknown. There are fight scenes and other violent elements present which normally wouldn't appeal. But, for a variety of reasons, The Warriors is something that I watch once or twice a year.

The movie is 33 years old so I am not going to avoid spoilers. If you want to see the movie without knowing what happens, please stop reading now.

The story is supposedly based on events in 401 BC when the Persian army was cut off on all sides and trying to get home. The Warriors is set in New York and begins with a meeting of rival gangs. The Gramercy Riffs are the most organized gang and they arrange a truce. Approximately 100 gangs are invited to send nine unarmed members to represent them at a speech given by Riffs' leader Cyrus.

Cyrus delivers a rousing speech. He points out there there are at least 60,000 gang members on the streets and only 20,000 cops. Why can't the gangs stop fighting each other over a few feet of turf when they can have it all? His speech is convincing, but the dream ends when Luther (David Patrick Kelly), a member of The Rogues, shoots and kills Cyrus. He then points at the Warriors' leader, Cleon, and accuses him of shooting Cyrus.

The result is absolute chaos. Police intervene to break up the gathering and The Riffs make it known that they want The Warriors captured dead or alive. Cleon is engulfed immediately and is killed.

So we are left with eight people who are stranded 27 miles from their Coney Island home. They are unarmed and unfamiliar with the area. What they don't realize is that they are being hunted by the cops and by every other gang because they have been framed by Luther. The Warriors worry about whether the truce will hold, but they don't appreciate just how much trouble they are in.

The story takes place over the course of just a few hours and so most of the action happens at night. We get a glimpse of how the group thinks when Swan (Beck) takes over as the leader. He's initially challenged by Ajax (Remar), but Ajax quickly backs down when the others support Swan.

We're shown a variety of encounters with rival gangs as the eight Warriors try to make their way home. Some encounters merely involve a lot of running and our heroes escape on foot, but other scenes involve battles. Each gang has its own distinctive image and colors.

An early encounter shows The Warriors negotiating passage through territory controlled by The Orphans, who were too insignificant to be asked to the meeting with Cyrus. It appears as though they will be allowed to cross The Orphans' territory until a woman, Mercy (Van Valkenburgh), speaks up and demands that they give up their colors. The result is a brief clash ending with The Warriors making it through. Mercy decides to join them.

I found myself wondering whether the whole hunt could have been avoided if The Warriors had just removed their colors and taken the train home, but that wouldn't have been good entertainment. After all, the eagles didn't fly Frodo directly to Mount Doom. We wouldn't have had a story.

The Warriors is the tale of a journey. The setting and the progress of the characters is more important than the history of anyone involved. Because we see everything from the viewpoint of one gang, we root for them. They may be rapists, thieves or murderers, but we care about what happens to them because they have been wronged.

If you ask people to name the most memorable rival gang, the most popular answer would probably be The Baseball Furies. They wear baseball uniforms and metallic face paint and their weapon of choice is a baseball bat. They are involved in perhaps the best fight scene in the movie. The action is clearly choreographed and isn't particularly violent or hard to watch. In the Ultimate Director's Cut, comic book images are used to separate one scene from another. This is a movie about style rather than absolute realism.

The early death of Cleon makes us doubt whether all of the remaining members will make it home and not all of them do. One of the biggest dangers is represented by The Rogues, who do not want to see The Warriors captured alive in case they reveal who was really responsible for the death of Cyrus. David Patrick Kelly gives a memorable performance as Luther.

In a chilling sequence, Luther uses three beer bottles to strike fear into The Warriors when The Rogues finally catch up with them. Kelly apparently improvised the scene on the spot when director Walter Hill told him that the scene required something more than was in the script.

The overall mood of the movie is helped by the score, the lighting and the use of the camera.

Barry De Vorzon used synthesizer's during some of the fight scenes and throughout most of the journey. Instead of sounding dated, it still sounds eerie and atmospheric.

After depicting a New York summer shower, the remainder of the outdoor scenes were shot on wet streets and pavements. This enabled the lights to reflect off the wet ground and added to the unique feel of the movie. A long sequence in Central Park had to be shot in the dark, so portable lights were clipped to the trees to provide lighting. You can easily see them if you look.

The character of Mercy shows up in a coat at one point and says that she stole it to avoid being noticed by the police who were looking for a woman in a pink shirt. The truth is that she had broken her wrist and Hill had to find a way to hide her cast in the remaining scenes.

It does strike me as odd that we never see any other gang members when The Warriors make it back to Coney Island. Weren't there supposed to be 120 of them? I guess it wouldn't have added anything to the story.

The characters look as if they can take care of themselves in a fight. The actors were required to do a few physical scenes and spent much of the movie running.

The Warriors is a timeless movie. The choice to shoot it at night was inspired and the use of humor diffused some of the tension caused by the more violent scenes. The whole blend adds up to a story which almost defies explanation, but I'm sure that I will always like it.

If you like The Warriors:

The Warriors is all about the look and feel of the movie as the characters make their way home. Escape From New York has a similar feel, although it's about one man trying to escape rather than a gang. Both films have elements of humor and don't take themselves entirely seriously.

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100 Movies - No. 92: Wall Street

92. Wall Street (1987)
Crime, Drama, 126 minutes
Directed by Oliver Stone
Starring Charlie Sheen, Michael Douglas and Martin Sheen

It must be interesting to work in the financial world, but it's certainly not a topic that attracts the attention of most moviegoers. Whenever we see stockbrokers depicted on the screen, it appears to be utter chaos. Screens show numbers, people shout and make frantic phone calls, and we discern from their reactions whether they made money or not.

Wall Street overcomes some of the limitations of the subject matter by giving us well-acted characters that we care about. Bud Fox (Charlie Sheen) begins the story as a struggling broker who hopes to one day make a phone call that will change his life. Most of his potential clients aren't in a position to do that, but one is.

Gordon Gekko (Douglas) doesn't waste a second of his time when he's working, and he's usually working. After calling for 59 days straight, Bud delivers a box of Cuban cigars on Gekko's birthday and is given five minutes to convince him that he can help the man make money. He doesn't really hold Gekko's attention, but uses a desperate ploy before he is thrown out. Bud's father, Carl (Martin Sheen), works for Bluestar Airlines and has given Bud information about the company which will result in the price of the stock rising. Gekko decides to take a chance and Bud is hired.

It soon becomes clear to Gekko that Bud had inside information. He tells him that he doesn't like to lose and he'll need similar information in the future if he's to keep him around. Bud has a decision to make. Does he try to work ethically and within the law, or take a chance and do what Gekko asks? This is a story of greed and corruption and we see Bud take the latter option. He follows around another investor in an attempt to find out what company the man might be trying to buy. The information is useful to Gekko and he makes a fortune.

Bud's life will never be the same. He's finally on a path that will result in him becoming a major player. He begins spending money on a new apartment and artwork which reflects his success. He also starts a relationship with a woman who would normally have been beyond his reach. We see what money and success can do to a person. Previous relationships are harmed or completely abandoned. His father is an ethical man and is particularly hurt by Bud's actions. Despite warnings from some of his colleagues, Bud ruthlessly pursues success.

Will Bud achieve his dream and stay one step ahead of the law? Can he continue to provide Gekko with enough relevant information? Will he prove his father and work colleagues wrong?

Charlie Sheen is convincing as Bud, but the real highlight of the film is the Oscar-winning performance from Michael Douglas. He exudes power and gives the impression that he doesn't tolerate failure in any form. He's a brilliant public speaker and easily wins the support of companies he's taking over, even if he means to destroy them.

It's very strange seeing images of the twin towers in older films and it's a little sobering to see them here. There are a few other things which date the film and the funniest change has to be the differences in technology. Take a look at the computer screens without laughing or at cell phones the size of a brick.

I always take note when a film holds my interest with subject matter that I usually find boring. Wall Street is one such film and it's a gripping drama.

If you like Wall Street:

Michael Douglas played Gordon Gekko in Wall Street 2: Money Never Sleeps. It was given a mixed reception, but I enjoyed it. If you like the character, it's worth seeing what happens to him.

If you're a fan of Michael Douglas, take a look at Falling Down.

I'm also reminded of Glengarry Glen Ross. Although it doesn't take place on Wall Street, the desperation of the salesmen is similar. It's easily the best movie I have seen about the sales industry. Al Pacino, Jack Lemmon, Ed Harris, Kevin Spacey, Alan Arkin and Alec Baldwin were all involved.

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100 Movies - No. 91: Vertigo

91. Vertigo (1958)
Mystery, Romance, Thriller, 128 minutes
Directed by Alfred Hitchcock
Starring James Stewart, Kim Novak and Barbara Bel Geddes

If you ask movie fans to name their favorite Hitchcock titles, you'll get a lot of different answers. Some would mention Psycho or Rear Window, while others might mention Dial M for Murder, The Birds, Notorious or The 39 Steps. There are probably at least 20 strong candidates. My own favorite is Vertigo because the mystery element appeals to me and James Stewart is involved.

Mulholland Dr. is my favorite film and David Lynch has mentioned how much he likes Vertigo and Rear Window because of the mood each creates. I can see why. Vertigo's mood never reaches the darker depths that Lynch's work inhabits, but there are similarities.

Vertigo begins with a rooftop chase in which Scottie Ferguson is left clinging to the guttering. When a cop tries to save him, Ferguson sees him slip and fall to his death. The traumatic experience leaves Ferguson mentally scarred and he quits his job as a detective. He's hired as a private detective by Gavin Elster (Tom Helmore), who claims that his wife, Madeleine (Novak), wanders off at random and doesn't remember where she's been. He thinks she might be possessed.

While that sounds unlikely, Hitchcock gives us reason to think that Madeleine really might be possessed as her husband suggests. Ferguson follows her all day. She takes flowers to a gravestone and stares at it as if she is somewhere else. The name on the grave is Carlotta Valdes. Madeleine also spends time in an art gallery staring at a picture, Portrait of Carlotta. The woman in the painting wears the same necklace and has the same hairstyle as Madeleine.

The following day, Ferguson follows Madeleine again. This time she drives to the Golden Gate Bridge and jumps into the bay. Ferguson manages to save her and ask her about her behavior. She doesn't even remember jumping into the bay. We find out that she's the same age Carlotta was when the woman committed suicide. Is the spirit of Carlotta making Madeleine do these things? Is it safe to leave her on her own?

That's the setup and I hope that I've managed to describe the unsettling atmosphere that Hitchcock creates. The plot is more complex than most of his films. Some of the twists are so surprising that I can't bring myself to reveal them here. If you haven't seen Vertigo, you deserve to discover those things for yourself.

The film uses a lot of red and green filters and you'll see the color green featured throughout. Whether it's Madeleine's dress, her car, or a neon sign, you won't be permitted to forget that color. There's an impressive effect created every time Ferguson looks down from a great height. It was achieved by zooming in and moving the camera away from the image at the same time.

Vertigo is sometimes criticized for being boring. I understand why some people might think that, but it's not a view I share. Ferguson spends a lot of time following Madeleine and most of those scenes require us to watch the events unfolding without the use of dialogue. Yes, this is a film that allows you to form your own opinion about what you are seeing. That said, the resolution reveals all of the mysteries. You won't be left to figure out what just happened. The beauty of the film is the way in which the revelations make sense of all the events which preceded them.

I'm always impressed when I look at the list of actors that Hitchcock worked with. James Stewart teamed up with Hitchcock in Rope, Rear Window and The Man Who Knew Too Much and all of those are worth your time. Stewart was very effective as Ferguson, particularly in the final 30 minutes of the film when he confronted his fear and obsession. Kim Novak also did a good job in a demanding role.

I've mentioned David Lynch, Madeleine and Ferguson in this review. I finally understand why Lynch named a character Maddy Ferguson in Twin Peaks.

The film was restored in 1996. I have seen the recent Blu-ray release and the film looks so much better than it ever has. Some titles in the Masterpiece Collection have not been restored well, but Vertigo looks good throughout. The most problematic part is the dream sequence, but it doesn't look too bad. The DTS-HD Master Audio 5.1 mix is another important addition, and everything sounds great. I would definitely look to upgrade when the titles are released on Blu-ray individually, unless you already own the full collection.

If you enjoy Hitchcock, or mysteries in general, Vertigo is a must-see.

If you like Vertigo:

Two of Hitchcock's best films were omitted from this 100 movies series. Not because they weren't worthy of inclusion, but because I wanted to avoid listing films that were too similar to others. I would urge any fan of Vertigo or Hitchcock to make a point of seeing Rear Window and Dial M for Murder. The tension slowly builds throughout both films and the payoff is worth it.

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100 Movies - No. 90: Up in the Air

90. Up in the Air (2009)
Drama, Romance, 109 minutes
Directed by Jason Reitman
Starring George Clooney, Vera Farmiga and Anna Kendrick

Jason Reitman has directed four full-length films and I love them all. Thank You for Smoking and Young Adult are very good, while Juno and Up in the Air are close to perfect. All are a combination of drama and comedy, but Up in the Air has more dramatic elements than the other three.

Ryan Bingham (Clooney) spends most of his life traveling. He flies from one city to another to fire people on behalf of companies who don't want to perform the task. We are told that he spent 322 days on the road the previous year. Although that kind of life would be detested by most people, Bingham likes it. He lives in hotels and his apartment is just an extension of that environment.

The rest of Bingham's time is taken up by giving motivational speeches. His philosophy states that our lives are filled with meaningless possessions, so he asks us to imagine starting over. He also believes that people are weighed down by the relationships in their lives. Whether it's friends, work colleagues, family members or romantic partners, they can be the most significant burdens we face. As a result, Bingham doesn't allow himself to get close to anybody in any type of relationship.

Does that sound depressing? Many of the people who dislike the film cite that as the main reason. I find it poignant, charming, intelligent and very funny.

Bingham's existence is threatened when a potential innovation is considered by his company. Instead of sending representatives all over America, the company may switch to firing people remotely using an Internet connection. The scheme is suggested by Natalie (Kendrick), who is young, eager and ambitious. Bingham insists that she doesn't have a clue about the reality of his job and he's given the task of showing her how it works.

The other major character is Alex (Farmiga). Bingham meets her by chance at an airport terminal and the two discover that they have a lot in common. Their initial meeting is very amusing.

The main strength of the film is its script. Reitman injects humor into serious situations and lightens the mood. I do appreciate that losing your job can be a traumatic event, but Up in the Air doesn't take itself entirely seriously. Another strength is the acting. Clooney is magnificent at delivering humorous lines in dramatic situations and Farmiga gives the best performance of her career to date as Alex.

My favorite scene - and there are many candidates - is probably the first meeting between Bingham, Alex and Natalie. The dialogue is fast-paced and witty and it's here that I know I'm in for an enjoyable ride. The way Natalie is completely oblivious to the fact that she's insulting Alex and Bingham makes me laugh every time. All three actors were nominated for their performances and I can see why.

One of the best moments perfectly blends drama, humor and reality. Bingham shows Natalie how to fire people and one of the unlucky candidates is Bob (J. K. Simmons). Although he's only on the screen for a few minutes, Simmons delivers a memorable performance. He's initially unconvinced by Bingham's words and Natalie's attempts to intervene, but Bingham says something that reaches him. It's such a believable exchange. A potentially explosive situation is avoided and Bob walks away feeling positive about his future.

I won't reveal any more of the plot, but I look forward to every scene when I watch Up in the Air. Bingham is the most intriguing character and it's interesting to see how his relationships and philosophy evolve during the film.

I'm sure that people like Bingham exist. Many have observed that Up in the Air reflects the times in which we live. It focuses on loyalty and the uncertainty present in today's economy. I don't particularly care about its relevance. I watch it every few weeks because I love visiting that world. The final shot takes us into the air once more and there's a moment of silence. It's a perfect way to end the story and suggests peace and solitude. That's exactly what Bingham likes about his job when we first meet him.

If you like Up in the Air:

I heartily recommend all of Jason Reitman's other films; Juno, Thank You for Smoking and Young Adult. Clooney's performance was Oscar-worthy, but he missed out. The same happened this year for The Descendants. The two performances are similar in some ways and benefit from Clooney's ability to deliver comedic lines in dramatic situations. I never thought I would say it, but Clooney's performance in The Descendants may be even better than his excellent work in Up in the Air.

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100 Movies - No. 89: Three Colors Red

89. Three Colors Red (1994)
Drama, Mystery, Romance, 99 minutes, French Language
Directed by Krzysztof Kieslowski
Starring Irene Jacob, Jean-Louis Trintignant and Jean-Pierre Lorit

There's a scene in the closing minutes of Three Colors Red which unites the whole trilogy. It's possible to view Red without seeing Blue and White, but the impact of that breathtaking scene will be lessened if you don't understand its full significance. Red is such an interesting film and I would like to discuss it in detail. This review contains major spoilers so please consider watching the entire 288-minute trilogy in order before you read the remainder of my thoughts.

I remember being happy that Forrest Gump won the Best Picture Oscar in 1994, but I have since realized that there were at least three better films that year. The Shawshank Redemption and Pulp Fiction were two of them, and the other was Three Colors Red. The film was nominated for three Oscars; Best Director, Cinematography and Original Screenplay. It was never likely that a foreign language film would win in those categories, but the nominations were significant.

Director Krzysztof Kieslowski first teamed up with actress Irene Jacob in The Double Life of Veronique and the two films are thematically similar. Both stories reflect on destiny, life, love, opportunities, connections and cause and effect. They are thoughtful observations and you'll get the most out of them if you are the kind of person who likes to consider the meaning of life and our very existence.

Three Colors Red opens with a phone call and we see a depiction of the call being connected. The camera takes us inside the telephone wires and rushes us through pipes and across water. Valentine (Jacob) lives in Geneva and is talking to her boyfriend who is working in England. We never see his face, but his voice tells us what we need to know. He's deeply insecure and suspicious and it's clear that Valentine deserves someone more trusting and loving.

Another man (Lorit) is shown hurrying across a street. We will later discover that his name is Auguste and that he's studying to become a judge. When he drops his books, one falls open. The text on that page includes the information required to answer a question on his upcoming examination. Has Fate intervened in his life, or is it just a coincidence?

Valentine is distracted by the radio while she is driving and hears a bump. She's horrified to find that she's hit a dog. The collar has the name of the dog, Rita, and an address tag, so she carefully puts Rita in her car and drives to the owner's house. His name is Joseph (Trintignant) and he appears indifferent to the plight of Rita, so Valentine takes her to a vet. For any animal lovers out there, Rita makes a full recovery.

Valentine works as a model and we are shown her being photographed for a chewing gum ad. The campaign is entitled a breath of life. After choosing between dozens of possible photos, she chooses the one that will be placed on a giant billboard.

Rita runs away the first time Valentine walks her and leads her back to Joseph. Was Fate involved once again? Valentine talks to Joseph and we learn that he's a retired judge. He spends his time eavesdropping on his neighbors, using all kinds of electrical equipment. Who is the judge? Why is he listening? What made him retire? He's a complicated man, but Valentine's initial reaction is one of disgust. She tells him to stop listening. He informs her that he's been listening his entire life.

There's a big difference between Valentine and Joseph. She is almost unbelievably good. All of her actions suggest that she believes other people are basically good. Watch how she helps an old woman place a bottle in a recycling bin to appreciate how Valentine's first instinct is always to help others. Joseph is extremely bitter and cynical. He believes that the majority of people are bad. However, he can see Valentine for what she truly is.

As the plot unfolds, Joseph is seen in court. This time it's as a defendant and we learn that he wrote letters to all of his neighbors and the police informing them of his illegal surveillance. Valentine sees the story in a newspaper and visits Joseph again. He informs her that her words had prompted him to write the letters. Why would he do that? When she asks whether she would find a judge like him if she were ever in court, he replies:

"You'll never be taken to court. The courts don't deal with the innocent."

That's exactly what Valentine is - an innocent. Does she represent something else? She continues to develop her relationship with Joseph by inviting him to attend a fashion show. It's clear that he doesn't leave the house often. It's as if Valentine is giving him the opportunity to start his life all over again. After the show, the two have a long conversation.

In this long conversation, it becomes clear why Joseph is so bitter. He was jilted as a young man and eventually found himself in the position of having to rule on a trial involving his girlfriend's lover. He found the man guilty, and believes it was the correct decision, but he still asked for early retirement. He's never really recovered from that incident and never found love again.

Remember Auguste, the young aspiring judge I mentioned earlier? His life appears to be on the same path that Joseph's followed. He's been jilted and has become bitter. He also doesn't seem to care much about his dog. It's as if he is afraid of even getting close to an animal in case he is betrayed. Joseph clearly regrets not meeting someone like Valentine earlier in his life. Romance isn't possible between them now, but does Joseph try to place Valentine and Auguste in a position to discover each other? When she decides to travel to England, he suggests taking the ferry. Auguste is on the same ferry. Is Joseph a representation of Fate or even God?

The conclusion to the film, and to the whole trilogy, is simply stunning. If you have read this far, I'm hoping that you have already seen the trilogy. If you haven't, this is your final chance to avoid a major spoiler.

Joseph looks at his newspaper and discovers that Valentine's ferry has been involved in an accident. The television provides more information about the event. Only seven people have survived the accident and six are known to us. The first two are Julie and Olivier, who we met in Three Colors Blue. The next couple are Karol and Dominique from Three Colors White. The final survivors are Auguste and Valentine, who are apparently discovering each other for the first time despite living in the same street.

Perhaps even more haunting is the still of Valentine's face as she is rescued. A passing stranger is wearing a red jacket and the shot looks almost identical to the one taken for the chewing gum ad. This suggests all kinds of connections and possibilities so make of it what you will. Whatever you think, I believe it's a stroke of genius to end the film in such a way.

Director Krzysztof Kieslowski died in 1996 at the age of 54 and I often wonder what he would have gone on to achieve. Irene Jacob worked with him on just two films, but would we have been given a few more magical collaborations? We will never know. I can't recommend Kieslowski highly enough. His films are full of beauty and possibilities. Although this review focuses on Three Colors Red, the entire trilogy is a must-own if you enjoy pondering the mysteries of life. It's my favorite trilogy and that's saying a lot.

Criterion issued a Blu-ray version of the Three Colors Trilogy in November, 2011. Each film has newly-recorded special features and includes in-depth video essays exploring the themes. It's a fantastic package to own if you are a fan of Kieslowski or foreign language films in general.

If you like Three Colors Red:

As mentioned above, Kieslowski's Three Colors Blue and Three Colors White are a vital part of the trilogy and give added meaning to Three Colors Red. If you enjoyed Irene Jacob's performance, you'll almost certainly like The Double Life of Veronique.

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