Gangs of New York

Rating: ★★★★

They're about to literally stomp the yard.

The critical divide over this film is astounding, even after almost ten years since it was released. The general consensus seems to be "it's an excellent film, but a touch unnecessary". I can understand that, and in some ways I'm inclined to agree. But, when reviewing a film, it's important to not think of it in an existential way (unless, of course, it requires that). What the film is, regardless of its necessity, is a sprawling epic and a beautifully told story. Filled with large characters and passionate direction. In some ways, it's a masterpiece. In other ways, it's just a damn good film.

Most people understand the word 'masterpiece' as being the singular pinnacle of an artist's career. I've always understood it to mean a piece of work that reflects the artist being at the top of their game. And by that definition, Martin Scorsese's career is loaded with masterpieces. So much so that the standard of 'masterpiece' becomes a bit higher for him. Gangs of New York, as Roger Ebert once remarked (and I'm saying this here because I've agreed with him for almost ten years now), would have been any other director's masterpiece. But in a filmography that contains Taxi Driver, Goodfellas, The Age of Innocence, etc.... it falls just short. A towering achievement, nevertheless, but not 'his masterpiece'.

More after the cut --

The Ballad of Jack and Rose

Rating: ★★

Another argument for the dangers of home schooling.

The Ballad of Jack and Rose furthers my argument that if The Parent Trap had only been about one child, it would have been a psychological drama. Haley Mills of course never had the near clinical sense of vacancy that Camilla Belle has as an actress. That isn't a knock on Belle, merely an observation - this character seems perfectly tailored to her abilities as a young actress. She's wonderful here, in ways that she isn't in other things. Of course, comparing this film to, oh... 10,000 BC is a bit like comparing this film to The Parent Trap. This is a film that deals with deep emotional issues, and some oddly specific parts of human nature - yet, it never manages to go as deep as it might suggest. And the film's director, Rebecca Miller (daughter of The Crucible's playwright Arthur Miller, and also Daniel Day-Lewis' wife), might not have been ready to delve into the story she presented. 

More after the cut--

There Will Be Blood

Rating: ★★★★

I drink your milkshake.

If Daniel Day-Lewis tells you he’s a Mohican Indian, you believe him. If he tells you he has cerebral palsy and can only use his left foot, you believe him. And if he tells you he’s an oil man, you will agree. He’s taken much criticism in his wild approaches to method acting, but I’ve often said in his defense - yes, the journey might be outlandish, but it’s all about what’s on screen. It’s the performance, not just the preparation.

There Will Be Blood is a dark comedy, in the same way that Lars Von Trier’s Dogville is; it is sound and furious, satirizing nothing. A rare period piece that feels lifted from its implied period, rather than feeling filmed in 2007, the film takes place between 1898 and 1927. I’m always pleased when a period film manages not to suffer from what I call ‘Yesterday Syndrome’. The film has an early American, as well as an oily and slick, feel. Paul Thomas Anderson’s screenplay is derived from only pieces of Upton Sinclair’s novel “Oil!”

More after the cut --

Nine

Rating: ★★

Directing is easy. Yes, no, yes, no.

The lyrics in the first song seem to set up the rules for the movie. Maestro Contini is a director going through one hell of a mid-life crisis. He is making a movie, but has no script - a sort of poignant nod to his life having no direction. Much like the movie he's in has no direction. Guido, our anti-hero, wants to be "everywhere at once, though that's a contradiction in terms". Nine suffers the same fate: it's too many places at once, never stopping to focus on the good ideas it hints at along the way. Another indication of the film comes from a small exchange of dialog between the director and his costume designer. She tells him "directing is easy, maestro. 'Yes, no, yes, no'". Apparently, she nailed Rob Marshall's intent when direction this misguided take on the Broadway musical. Apathetic. 

More after the cut--

In Honor Of - Daniel Day-Lewis

Yes, he's insane. 

He's been called the world's greatest living actor. And while Al Pacino might have something to say about that, people aren't too far off. Of course, others will say that it shouldn't take a great actor two or three months to live as a character in order to act in a movie. 

I say - it isn't the preparation, it's the performance. He could have lived his whole life as Daniel Plainview, making sure every tick was perfect (which, by the way, it was). But, it's what's on screen that gets judged. I think. But, I only run a blog. What do I know, right? 

More after the cut--