Friday Entertainment Fun

Normally, this space would be reserved for a weekly review of an upcoming or current movie. Unfortunately I live in an east coast metropolis, and spending $10.50 or 12 dollars or whatever it is in this day and age is a bit steep for yours truly.

Poor timing surely, for evidently this year's Academy Awards features 10 (yes! but why?) best picture nominees, of which I have seen a whopping one. Not this that is particularly out of line for me, as I never say Shakespeare in Love, Chocolat, Million Dollar Baby, Slumdog Millionaire, or any of the yearly favorites. Furthermore, I'm constrained by whatever television channels I get for free, i.e. the networks, CW, Food Network, and I think TLC. Even USA got confiscated. Thus, my knowledge of current trailers is sufficiently limited.

Basically, I have no idea which films are out right now, or what the hotness is these days. Hurt Locker and Precious look like downers. Paul Thomas Anderson doesn't have anything premiering this month. I'm certainly not seeing Valentine's Day. So with the depression associated with not having a new Saw movie ever coming out in the winter, I'm slightly excited about Shutter Island, and its stud of an idol, Leonardo DiCaprio. James tells me that additionally, it is directed by one Martin Scorcese. Thus, the following will be my feeble attempt to tie together both past and present, imitating some semblance of a cinema theme.

My favorite Scorcese films ( if you don't spot an important one, I have either not seen it, or don't care about it much at all)

1. The Color of Money

I honestly had no idea where this film was headed, though perhaps I was unaware of it at the time. One notion is that a pure film, one of complete awesomeness, leaves little time for the viewer to analyze it as it happens. A seemingly simple story, revolving around three mysterious yet overt characters, it is a classic rendition of chasing the American dream while on the road. You can be sure anyone of these people would cross the other at a moment's notice, and yet they all possess and endearing vulnerability shrouded with a veil of toughness and skepticism. The perfect portrayal of an aging American: enough life experience to give off a sense of (perhaps false) authority, yet deep inside they know they can only achieve their goals by living vicariously through another. The problem is when three people are all trying to do that, it might not work out. The soundtrack doesn't hurt either.

2. Bringing Out the Dead

Apparently, Scorcese's interpretation of what he originally wanted Taxi Driver to be (he didn't write the lattter). Yes, it has Nicholas Cage, but damn, this movie is out there. A film that weaves sick cinematography, imperfect characters with unclear motives, and an intertwining of people on the fringes of society is enough for me, as long as it doesn't last 3 hours. I believe this film passionately displayed a distinctly flawed man that happened to have a strong desire to redeem society, without the violence/prostitution/lengthy mirror scenes of Taxi Driver. One of the Arquettes is in it.

3. Casino

The worst thing about this movie is that the main character is supposed to be Jewish, but is instead played by quintessential Italian, Robert DeNiro. Other than that, it is a wonderful 1990's retelling of a culture long gone. A man in seemingly in complete power, yet is constantly used by all of the other characters. I enjoy movies with characters hopelessly hanging on to a fading era in american history, especially those where no one gets what they want in the end.

4. Taxi Driver

This film teeters the line between being out of touch, shovenist, culturally aware, anti-violent, too violent, beautiful, ugly, and incomplete all at once. Yet, from an understand of the characters involved, one can never believe that this story was meant to be completed. Graphically, I believe this film to be mindblowing, even if it looks like claymation personified.

5. The Departed

The Ending was whackness personified. I don't mean the actual plot resolution, but rather the fact that the last 40 minutes of this film seemed completely unplanned. Yes, I understand nearly all of the characters are meant to die, but Matt Damon getting killed seems like a forced "happy ending". Also Mark Walhberg's character became a bit too integral. Basically, it's hard to have a film revolve in no small part around Jack Nicholson, then expect it to have integrity and significance long after his character's impact has faded. Still, a film where Alec Baldwin is incredible and still like the 7th most important character can't be too bad. One could say that females were completely irrelevant in this movie, but then again it's post 1990 Scorcese.

6. Gangs of New York

For a movie this expensive, long, and complex, it sure is rough. Despite being set in Manhattan, it is wonderfully un-Scorcese in many respects, including it's negative portrayal of American nationalism and nativism. Seemingly a standard historical drama, it really did make me look past what was happening on screen, creating a glimpse into a marginalized segment of American Culture. I don't know of too many films set during the Civil War that don't actually feature any Civil Way battles, but this one was a reminder that the effects of war can reach far beyond a setting of conflict. Still, I contend that Scorcese could have gone further with the draft and ignorance towards other cultures metaphor, especially at a time (2002) when this country needed a rude awakening. Despite all this, Daniel Day Lewis may well be the greatest actor of all time. Plus it's got Leo and John C. Reilly.

7. Raging Bull

I have trouble deciding whether this is actually number seven on my list, or whether it is a product of the sensibilities I've encountered the last 10 years. To claim this movie anything less than amazing in the presence of cinemaphiles is tantamount to heresy. Truly, this is a one man character study, but at its finest. A film which makes the audience empathize with a lead character who is in many respects, a total jackass, is fairly strong. Still, I feel like the cinematography may carry this film. While it certainly feels like a movie from thirty years ago (and is), it is one of the least dated of the fabled classics of the 70's and 80's.

8. The Age of Innocence

Woefully boring, and yet without any flaws. I consider this film wonderfully acted, yet extremely vanilla. Scorcese stepped out of his box merely with his choice of novel, but failed in his efforts to challenge either himself or the viewer. I've never read a Jane Austin novel, perhaps he was in some ways doomed from the start.

9. Goodfellas

Vastly overhyped in our both our lexicon and understanding of American films, this is a perfect example of a truly entertaining movie that at a second look, lacks any real substance. It's about Italian-Americans and Mobsters. A film revolving around the threat of violence and peril, and yet one which prevents the audience from truly caring too much about any of the characters.

10. Mean Streets

Edgy, yet passe, exuberant yet dehydrating. You really need to care about pathetic wanna be gangsters to love this film, but despite this, it still managed to convey an understanding of desperation and internal conflict. The audience is able to catch a glimpse into the soul of someone who was born to be a criminal, and yet will never be too successful, a man who can't do much good, yet is resistant to turning himself over to complete evil. To peg this as a clear example of a director's "early work" would be neither unfair nor stereotypical.