Deep Red (1975)

April 11, 2013 by monster1711

Part two of my back-to-back reviews for Dario Argento films. Yesterday featured the widely appreciated Suspiria and today will star his 1975 serial killer film Deep Red.

Upon viewing it now, those lost in the run and gun style of current horror might find it too retro, slow moving, and visually unappealing. But Deep Red, to the horror veteran, is a prime example of classic terror and the form most buffs wish the genre would return to. Directed by cult favourite Dario Argento. Deep Red is a paced hour and forty five minutes, riddled with reddish goo and creepy circumstances. An added benefit of Deep Red is its intelligent level is raised than most of the genre films from that time. In keeping the viewer guessing until the very end, Deep Red knows it needs to provide the goods throughout and does so in sickening fashion. Starring David Hemmings, Gabriele Lavia, and Macha Meril, Deep Red’s cast and crew pack a potent punch mentally and visually while being accompanied by a startling soundtrack.

With an eerie, innocent song playing, a scream echo’s throughout several rooms and a bloody knife is tossed at the feet of a child. Later, a psychic named Helga (Meril) attends a presentation. While reading the minds of some of the audience members, Helga has a violent outburst. She has witnessed images from a foul mind and states that the owner of these thoughts has murdered and plans to again. At her apartment, Helga begins to hear a children’s song playing. When the doorbell rings, Helga approaches the door but has a psychic intuition and backs away from the door. At the same moment, the killer bursts into the room and murders Helga. Down in the street below, Marcus (Hemmings) witnesses Helga break through her apartment window and rushes to attend to her. When Marcus becomes curious as to irregularities in the apartment, he sets out to uncover the identity of the killer.

I feel that I need to touch on this. It is a rare occasion when a film is just as sound structurally as it is musically. The compositions are incredibly ominous and bone chilling.Teetering between sweetly innocent and dangerously hectic. The contrasting sensation of what you’re hearing and what you’re seeing is intoxicatingly uncomfortable. As for the gore and its authenticity…One is more abundant than the other. While there is a substantial amount of blood, it has the look and consistency of red paint. Once you’re able to get over the dubious mush spewing from vicious lacerations, Deep Red is how horror should be treated. Argento was able to perfect his entries into the “giallo” genre over time and Deep Red was the beginning of it. Followed by the widely praised Suspiria, Argento’s Deep Red helped redefine a genre and inspire fellow horror enthusiasts like John Carpenter.

Deep Red: 7.5 out of 10.

Suspiria (1977)

April 10, 2013 by monster1711

Day number one of my back-to-back reviews for two of Dario Argento’s films. Today will be his 1977 horror Suspiria and tomorrow will be the 1975 classic Deep Red. Also guys, don’t forget to check out the top 10 section and discussion boards, as well as the double feature weekend featuring reviews of Evil Dead and Jurassic Park 3D. Enjoy!

In this day and age, Suspiria discourages and annoys even the most avid, albeit modern horror enthusiast. But to the horror obsessor with a thirst for the classics. It is a goose-bump inducing, stomach turning, heart stopping high that you never want to come down from. Just don’t consider it to be divergent. The over supplying and desensitizing processes of the current age have turned scatterbrains into attention seeking voids, deprived of any sense of pace. Suspiria might be too dramatic and put the scariness on the back burner as it cements its plot. However, its final sequence should be incentive enough, let alone the demeanour of its pulsating shocks present from the start, to give it the chance it warrants. Suspiria was at the forefront of the horror genre from 1977 and on, it inspired many and followed none. Directed by horror visionary Dario Argento and starring Jessica Harper as well as Stefania Casini. This paranormal fright fest is the follow up to Argento’s 1975 serial killer picture, Deep Red.

Suzy (Harper) is a young American ballet dancer who journeys to Germany to attend a very prestigious dance academy. Arriving at the academy, Suzy witnesses a young girl flee the school while whispering incoherent sentences seemingly to herself. After being introduced to her instructors and fellow students, Suzy eventually takes residence in the dorms with her classmates. Later on, Suzy and the academy learn that the young girl running away from the academy was a student by the name of Pat. She had suffered a horrible death as well as her close friend she recently took residence with. As time passes, Suzy and the girls begin to hear and see strange things throughout the academy. When Suzy and her friend begin to search for the truth, a harsh reality is unveiled.

Much like Deep Red, Suspiria reveals a majority of its secrets in the latter stages of the runtime. But while leading the viewer on this chase for answers, the mounting strain and tingling fear from a series of occurrences with unknown origins almost become unbearable. Disappointingly, there isn’t as much gore that you’d expect from an Argento film, but when the situation calls for excessiveness, Suspiria delivers. It continues to compile claim for one of the most over the top, gruesome death sequences in film and deservedly so. Drawing another similarity between Suspiria and Deep Red. The musical accompaniment is used to exquisite effectiveness throughout. It is extremely bizarre and entrancingly fear sustaining. Suspiria might prove to be a bore for some, but to those who can appreciate its phantoms and tactics, it is a rewarding nightmare.

Suspiria: 8 out of 10.

Jurassic Park 3D (2013)

April 9, 2013 by monster1711

Part two of my doubleheader this weekend at the cinema was the 3D re-release of Steven Spielberg’s Jurassic Park. Check out the review for the first part of the doubleheader starring Evil Dead.

I was fortunate enough to see Jurassic Park in its IMAX 3D format this past weekend. If that isn’t excessively decadent, I don’t know what is. They certainly spared no expense in re-formatting Jurassic Park in 3D.The theatre was packed and the energy in the room filled my gut with excitement. I swear I regained some faith in humanity when I noticed that parents were bringing their young ones to watch it. Opening their fresh, innocent minds to the wondrous world of cinema, its enough to break your heart. All right, hold on. I may be overdoing it a bit, but come on, it’s Jurassic Park, a classic. To know that it’s still relevant and that generation after generation will be exposed to this masterpiece is gratifying.

Unless you’ve been living under a petrified rock for the last 20 years. You’ll know that Jurassic Park is directed by the inspiring, brilliant, unmatchable Steven Spielberg and features incomparable performances from Sam Neill, Laura Dern, Richard Attenborough, and Jeff Goldblum. With Jurassic Park, Spielberg perhaps squeezes the last drop of wonder and amazement from our planet and presents it in all of its splendour for the masses to see. Its soundtrack is arguably one of the most recognized film scores ever, composed by none other than the supremely talented John Williams. Provoking strong arguments regarding the current state and future of science, the limit of merchandising, and the extinction of manual labour. Jurassic Park is as equally intelligent as it is fantastical.

Dr. Grant (Neill) and Dr. Sattler (Dern) are coaxed into attending a weekend on the island is Isla Nublar by John Hammond (Attenborough), the CEO of InGen. Accompanying them on their journey is Dr. Malcolm (Goldblum) and Donald Gennaro, a lawyer. Once they arrive at the island, it is revealed to them that it is a biological zoo of sorts that houses genetically engineered dinosaurs. The reason for their visit is for Mr. Hammond to obtain endorsements on the safety and reality of his park which is called into question after an employee is killed by one of the dinosaurs. Another of InGen’s employees is bribed into providing a rival company with embryos of the dinosaurs. When the power and security is shut down to retrieve the embryos, the dinosaurs begin to unleash their fury on the park and the visitors.

I honestly take it to heart how my interpretations and understanding of Jurassic Park evolved as I grew. As a kid, the underlying messages and themes don’t really resonate with you, but as you mature, so do your opinions. Jurassic Park deals with some serious topics, such as cloning and merchandising. The scene I feel best exemplifies Jurassic Park’s social and political undertakings is when Malcolm and Hammond discuss the act of discovery. Grant and Sattler also contribute to the conversation, but the back and forth between Malcolm and Hammond is the core. The inclusion of the lawyer I think is elegantly satirical.

It is actually quite miraculous how the 20 year old animatronics still stand up today. The Tyrannosaur never looked better. Grappling with the tour jeep, reeking havoc amongst the park, tearing guests apart, it’s stunning. It’s tough to find a fault in the film. There might be some factual inconsistencies in the design and mechanisms of the animatronic dinosaurs, but they are easy to overlook considering their authentic look and feel. Taking into account the sheer inventiveness and vastness of Jurassic Park, let alone the animatronics and script, it’s easy to appreciate Spielberg’s craft. The originality and intelligence in Spielberg’s direction and Crichton’s novel, on which the film was based, is unmatched.

When the tears begin to trickle down Dern’s face as she stares into the eyes of the sick triceratops, it conjures up deep feelings of resentment and endearment, it chokes you up. The same emotion can be felt when Neill takes his first look at the herds of dinosaurs drinking from a small lake. Their performances reflect the unbearable anxiousness and ferocious excitement that exude from their characters inner child, which is what I feel makes Jurassic Park such a universally understood and cherished film. Everyone wants their hopes and dreams to come to fruition and when we witness it happen to others, it trembles our very bones. Attenborough mirrors this very aspiration at several moments in the film. Goldblum embraces chaos theory and displaces it throughout his performance. Whether he annoys you or makes you chuckle, their is no arguing with his effectiveness.

Jurassic Park has the smarts, looks, and personality. The kind of film you’d take home to show off to your friends, just joking. All kidding aside, Jurassic Park is the perfect potent blend of terror, intrigue, and brilliance.

Jurassic Park IMAX 3D: 10 out of 10.

Also guys, don’t forget to check out the top 10 films of 2012 and the week #3 discussion board!

Killing Them Softly (2012)

April 7, 2013 by monster1711

Just a quick review, I am off to see Jurassic Park in IMAX 3D soon so I don’t have a lot of time. Enjoy!

All this time has passed since its release and I am still not dead set on how I feel about Killing Them Softly. It is definitely one of the more questionable releases of 2012 as it never did fully live up to expectations. Boasting a strong cast, clever, politically driven material, and a respected director. Killing Them Softly was hotly anticipated but through this, was arguably set up for failure. However, it isn’t the complete disaster most have made it out to be. The glaring inconsistency with Killing The Softly is it cannot balance as it sits on the fence. There isn’t any issue with a film digging depth under its superficial exterior. But the accuracy and ferociousness of its violence, abuse, both mentally and physically overshadows its economic message to the point of abandonment. Killing Them Softly is a taste of blunt force, dark comedy, and political satire, but doesn’t lean on their cohesiveness. Instead, it lets each trait trail into independent dependency.

The criminal economy crashes when three masked man steal the cash from unsanctioned card games in the local area. The men work for Trattman (Liotta), who also runs the games. When time passes, Trattman reveals that he was the one who robbed his own event. When the games are raided again by Frankie (McNairy) and Russell (Mendelsohn), the assumption is that Trattman has repeated his actions. Jackie (Pitt) is called in by the mafia and is informed by Driver (Jenkins), who works for the organization of the situation. Knowing he needs to regain the confidence of the local crime organizations and find the culprits of the second robbery, Jackie sets out to restore balance.

I can’t deny that Killing Them Softly’s intriguing premise, bleak hilarity, and unrelenting brutality isn’t enough to save it from tumbling into a mediocrity inferno, because it is. The dark, sometimes raunchy laughs and detail in the onslaught are the most consistent aspects of the entire film. While the political influence is present throughout, its relevance and effect are limited. Top performers are Ben Mendelsohn, Scoot McNairy, and obviously Brad Pitt. McNairy and Mendelsohn are a hilarious duo who, despite the similarities, are quite the contrast. Pitt once again makes everything appear effortless. Andrew Dominik does an interesting job behind the camera. At times it feels as if he is completely lost, but redeems himself with slowed, atmospheric shots and unique angles. Killing Them Softly might not be the crime drama everyone envisioned. But its economic stance, fierceness, and satirical comedy put it a notch above most thrillers.

Killing Them Softly: 7.5 out of 10.

Evil Dead (2013)

April 6, 2013 by monster1711

Relying on the nostalgia and gore a bit to eagerly for those not familiar with the original trilogy. But Evil Dead is a worthy re-imagining filled with enough blood and guts to ruin the stomach lining of die hard fans and new comers alike. It may tamper with the story and replace the comedy element with an emotional struggle, but it still serves as a monument to the genre masters of old. Evil Dead should be enough to appease the modern horror enthusiasts seeking a tasteless thrill (which I mean positively). The intelligent and psychological aspect of the film is never really present, which should be expected when dealing with this cult classic. If you go into Evil Dead expecting to be blown away with unfathomable depth and hidden messages, you’re sure to be disappointed. The most respectable trait in this rebirthing is its awareness of its limitations and how it plays within them. Evil Dead is what it is and what it is coincides with the original. A terrific horror movie that should soon be a timeless halloween flick that is sure to leave you queasy and demented.

This new chapter added into the Evil Dead franchise is directed and co-written by Fede Alvarez. Who, with the help of Diablo Cody, seems to draw inspiration from both of Sam Raimi’s original Evil Dead pictures. It stars Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, and Elizabeth Blackmore.

David (Fernandez), Olivia (Lucas), Eric (Pucci), Natalie (Blackmore), and Mia (Levy) head to a remote cabin in the forest from their youth. The group has brought Mia here to end her drug addiction. When Mia begins to succumb to withdrawal, she complains of an unbearable smell. Later, they stumble upon a cellar filled with dead rodents hanging on string and the book of the dead. When a passage is read from its pages, it releases a demon who dwells in the woods. As it possesses each member, the group must make life or death decisions in order to stay alive.

As soon as the traditional or petty cliche (however you chose to look at it) group of five arrive at the cabin, the memories flow back. For those familiar with the original like me, you’ll become overwhelmed. I began to reminisce of those frightening nights from my youth. When the tiny, rundown cabin with an even smaller tool shed to the right, stocked with countless tools of malice and mischief filled the screen, I felt innocent again. I’m probably playing this, yearning angle a tad to earnestly. But, at it cores it is technically a remake and it definitely intended to pull on the heart strings. As for the ones caught up in the hype, Evil Dead shouldn’t disappoint. If you watched the trailer before hand, you knew what you were getting yourself into.

As with any film dependant on gory scares and characters stupidity, there are sure to be faults. In the beginning, the acting isn’t as strong as it needed to be, with the exception of Jane Levy. But surprisingly, as the movie goes on, the performances improve. Levy is definitely the strongest. She gives a performance that should be worthy enough to break her through. I predict we will be seeing more of her from now on. The musical score is ambient at times and down right alarming when it needs to be. Featuring some sort of siren, screeching, and ascending bass lines, the soundtrack is equally terrifying. Try not to dwell on the little inconsistencies and the right choices that should have been made instead of the idiotic ones. Evil Dead is the cliche. It didn’t know when it conjured up its structure that it would be the blueprint for all future films of the genre.

In the end, if you’re not a fan of Raimi’s trilogy or you didn’t get swept up in the marketing commotion, you didn’t see Evil Dead this weekend. Odds are, you’re probably repulsed by excessive brutality and buckets of fake blood with pulpy, mashed organs floating about, strewn along the walls, so you wouldn’t enjoy it anyway. Even if you went in blind, the title should have been enough of an indicator. If all that wasn’t enough to discourage you and you witnessed Evil Dead this weekend with your closed minded brain and innocent eyes. All I can say is, welcome to our fucked up world. Yes, we enjoy this and yes, I’ll probably watch it again with a huge smile on my face.

Evil Dead: 7 out of 10.

Also don’t forget to check out this weeks top 10 and post on the discussion board, they can be found in there respective section.

Star Trek (2009)

April 4, 2013 by monster1711

Being able to draw fresh blood to the franchise while still appeasing those who practically have Starfleet emblems burned into their skin like birthmarks would appear daunting to say the least. Well, it just so happens that J.J Abrams put quite the strangle hold on the long running saga, revived it, breathed new life into it. A re-imagining that astonished and reached vast across the universe as an intelligent, undeniable virus that infected Trekkies new and old alike. While the effects and intricate plot provide the majority of its wonder. The real achievement is the development and portrayal of its familiar characters that is truly awe inspiring. Star Trek’s three leads Chris Pine, Zachary Quinto, and Eric Bana, as well as the supporting cast are a revelation. With an all star cast and a story so elaborate, Abrams and company boldly go where no man has gone before.

The first shots profile the early years of James Kirk (Pine) from birth to his enrolment in Starfleet. Kirk’s father George (Hemsworth) was killed in a final stand against a rogue time traveling ship looking for Spock Prime (Nimoy). Around this time, a young Vulcan named Spock (Quinto) is torn between his heritage that is split with humanity. Roughly twenty-five years later, Kirk is challenged by Christopher Pike (Greenwood) to best his father by joining Starfleet to become captain of his own ship. When the Enterprise is called into action some time later, its crew is thrust into a battle to save Earth from Nero (Bana). With the help of Scotty (Pegg), Uhura (Saldana), Sulu (Cho), Chekov (Yelchin), and Bones (Urban). Kirk and Spock must set aside their differences to rescue Captain Pike and prevent Earth from being destroyed.

Woven in coexisting timelines and protruding from singularities. The Enterprise and cast find that nothing is improbable and everything is relevant. As complex as it is personal, Abrams Star Trek is a rebirthing. It possesses the nostalgia and intellect to remain embedded in enthusiasts hearts while its modern appearance and script is enough to bolster a fresh fan base. With the previous chapters in the film series, the brains were always present but there was a significant drop off when it came to the emotional depth. Abrams Star Trek sacrifices nothing, paying close attention to every detail. Eric Bana is diabolical as Nero. A villain powered by loss and revenge, Bana comes through emotionally and viciously. Chris Pine, Zachary Quinto, Anton Yelchin, Karl Urban, Simon Pegg, Zoe Saldana, John Cho, and Bruce Greenwood comprise the crew of the Enterprise, each more impressive than the last. Rounding out Star Trek’s all star cast is Leonard Nimoy, Winona Ryder, Chris Hemsworth, and Jennifer Morrison.

If you’re thinking this reboot is comprised of the old Star Trek series and films, you’re probably running through the list of stereotypes. It’s for sci-fi nerds, boring, and in the case of the original series, visually abominating. This is not the case with this new, heavenly spawn. The visual effects are rivalled by none. There is no idiotic costume designs, shaky acting, or irrelevant, embellished story lines. Star Trek has the brains, the performances, and the cosmic mass. Overall, it is beyond stellar across the board.

Star Trek: 9 out of 10.

Spring Breakers (2012)

April 3, 2013 by monster1711

DISCLAIMER: THIS REVIEW IS FOR MATURE AUDIENCES ONLY.

Spring Breakers is honest about what it has to offer and relishes it, as if it is cherishing its dirtiness. It glamourizes its boundless inhibitions filled with sex, drugs, and alcohol for all to see. If you are like me, you’re expecting to see a watered down version of girls gone wild, and like me, you’re gravely mistaken. When you ponder about Spring Breakers, think in the most general sense that parts of the High School Musical, Disney channel, and Pretty Little Liars casts made a porno together while under the influence of heavy drugs and succumbing to drunkenness as it clouds their judgement. That might be too broad and bold of a statement to make, but honestly, the amount of abuse and usage shocked me. Not because the acts themselves are shocking, simply because I wasn’t expecting Spring Breakers to be so provocative. Spring Breakers features James Franco, Vanessa Hudgens, Ashley Benson, Rachel Korine, and Selena Gomez. Directed and written by Harmony Korine, Spring Breakers is not a cliched coming of age story and it is not a horribly written love story featuring a youthful hunk for girls to drip over. You should not let your prepubescent, innocent preteens watch it until their minds are fully developed or at least until their bodies fully realized.

Four college girls named Faith (Gomez), Brit (Benson), Candy (Hudgens), and Cotty (Korine) begin scraping money together to pay for their spring break vacation but soon realize they don’t have enough cash. Planning a simple, yet dangerous robbery to gather the remaining amount needed. The girls put their plan into action and pull it off successfully. Soon they are busing their way down to spring break. Upon attending a wild party, the girls wind up in jail. They are bailed out by a rapper named Alien (Franco). As the situations continue to become more and more severe and uncomfortable, the girls begin to trail off. When guns, violence, and murder creeps its way into their vacation, the girls dwindle until the strongest remain.

The most surprising and seductive sequence is definitely the three way between Ashley Benson, Vanessa Hudgens, and James Franco. I was not expecting that at all. The most hilarious, yet oddly hypnotizing scene is the singalong sequence. James Franco sits in front of a piano outside, his dreadlocks waving as he shows his gangster sensitive side. The girls begin to surround him, dressed in pink ski-masks and holding weapons. Together, they begin a haunting rendition of a Britney Spears song. With the ocean glistening and the calmness of their surroundings contrasting the sheer dissonance in their voices and the ambience of the piano, this sequence is one of the best of 2013 to date.

As for performances, I was actually stunned at how the girls handled their characters, capably I might add. The four are never insecure about getting personal and physical with their co-stars, especially Rachel Korine. The three way with Benson and Hudgens definitely took courage and stamina, so I applaud them. Gomez is passable in a limited role and still looks stunning. But, as decent as they were, Franco steals the movie. If it wasn’t for his inspired performance of an illiterate, vicious thug, the picture would have been a bust. The film in its entirety is surprisingly decent, but it becomes excessively repetitive, literally. The same dialogue is looped and the themes, even though relevant, are played out and weary. Despite Franco and the girls giving it their all and some uniqueness worthy of appreciation, there is little to grasp hold of.

Spring Breakers: 6 out of 10.

Also guys, don’t forget to check out this weeks discussion board and the top 10 memorable uses of “f**k” in cinema.

This Is 40 (2012)

April 2, 2013 by monster1711

A weaker outing from the brilliant Judd Apatow. This is 40′s familiar (possibly overused) cast is not as effective this go around. Once again treading relevant waters. Apatow is known for his ability to keep his pictures heartfelt and grounded while still being able to evoke hilarity out of common situations. This time, the comedic twists, nor the emotion are as potent as his previous efforts. This “sort of” sequel to Knocked Up is “sort of” not near as entertaining. For all of this mouthing off, it actually wasn’t that bad. It still has more depth and laughs than any spoof or hackneyed comedy picture. But if it wasn’t for the performances of John Lithgow and Albert Brooks, I would have completely discarded this film. Also starring Apatow’s family, who’ve become quite frustrating as they’ve become more orbited as well as the always hilarious Paul Rudd. This is 40 has the potential but fails without consistency.

A few years after the events in Knocked Up. Pete and Debbie begin to struggle with their age and the needs of their two daughters as they continue to grow. While undertaking initiatives to better themselves physically and emotionally, Pete and Debbie begin to unearth buried tribulations. They decide to confront their parents about the neglected youth they suffered through and the financial problems surrounding the family. On top of that, Debbie and Pete become more involved in their own children’s lives which has, initially, a negative effect. While Pete and Debbie continue to learn as they go, unforeseen events begin to destroy their relationship.

You can obtain as many guest appearances from relevant celebrities you feel necessary. But unless you entwine them into the story with meaning, it becomes painfully apparent that it is just a ploy to keep the sinking afloat. With This is 40, the issues present, more than Apatow’s other chapters, seem to deal with problems outside the norm which renders its overall theme ineffective. The pop culture references and endless annoyances of youth don’t add any hilarity to the film. In fact, conversely it dwindles its intended broadness and damages its overall relevance. This Is 40 is Apatow’s most emotional picture to date, but the humour is faded and the connectivity is not as strong or as universal as in his previous films. While it may conjure up some big laughs, its overall tone and reliability suffers.

I couldn’t resist putting a picture of this in the review.

This Is 40: 6 out of 10.

Departures (2008-2010)

March 31, 2013 by monster1711

A travel show that is more than a tour guide. Departures combines the strange, endless features of the Earth and the disheartening reality of our limitations and freedom for an exhilarating hour of TV. This show is as real as it gets. Although originating from Canada and featuring a trio of Canadians, Justin, Scott, and Andre, Departures is extremely diverse. The breathtaking visuals, arduous endeavours, and social and political interactions from across the world will leave you angrily envious. Shaping the confidence and stamina of the group while inserting the travel bug deep in the viewers loins. The obscure and sometimes dangerous destinations prove to be the most rewarding. With Departures you’ll find that there is something for everyone. Touching down on every continent, odds are you’ll be exposed to something new and discover your next destination.

Season 1: Canada: East and West, Jordan, India, Ascension Islands, Japan, Cook Island, New Zealand, Thailand, Cambodia, and Northern Canada.

Season 2: Morocco, Libya, Brazil, Cuba, Mongolia, Iceland, Zambia, Madagascar, Chile, Antarctica.

Season 3: Russia, Sri Lanka, Vietnam, Papua New Guinea, Ecuador, Ethiopia, Rwanda, Greenland, North Korea, Indonesia, Australia.

From mountain climbing, scuba diving, and bungee jumping, the crew of Departures don’t know the meaning of intimidation. Never backing down from a challenge, Justin, Scott, and Andre regardless of illness, climate, or safety give it their all to bring a unique perspective of our planet. Whether it may be falling from great heights or entering an active volcano that is spewing lava, smoke, and poisoning the air, Departures is truly something else. The devotion, quality, and dedication of the show is never in question when the crew literally puts their lives in danger to concur their fears and accomplish their dreams. On top of the often ludicrous journeys and patience to acquire the picturesque grace of our cosmic home, the cast deal with their own turbulence outside of the airplanes. Gaining and losing relationships, altering careers, and times of severe homesickness, the Departures crew put it all on the line. Watching Departures you’ll get the strong urge to give yourself more of an identity. Become one with what you want and strive towards it. Departures is the spawn of realized dreams and we should all be more aware of what that feels like. The musical score sets the mood and adds a sense of eternity to a finite space. Enlightening, funny, and richly atmospheric. Departures will cause you to reassess your life.

Departures: 10 out of 10.

Argo (2012)

March 30, 2013 by monster1711

Following up Gone Baby Gone and The Town, Ben Affleck’s Argo was released with seemingly insurmountable expectations. But the dark, satirical humour, unbearable tension, and outstanding performances by its entire cast is what separated Argo from a pack of dramatized history films in 2012. Argo further cements Ben Affleck as a force both on and off camera. A political thriller that had some tough competition in 2012, all heavily based on historic significance. However, despite this disadvantage, Argo was able to walk away with top honours at the Oscars. Featuring Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, and a slew of supporting stars, Argo is sound from top to bottom. The retro look and immersive story make Argo glow and full of intensity.

The American embassy in Iran was invaded and lost to Iranian revolutionaries in 1979. Numerous Americans were taken hostage. However, during the carnage and chaos, six managed to escape. The six Americans took refuge at the Canadian Ambassador’s house and stayed, waiting for the CIA to work out a way to bring them home. Tony Mendez (Affleck) with the help of Lester (Arkin) and John (Goodman), devised a plan to extract the six using a fake movie as a cover. The six Americans were to be various crew members and producers from Canada on a location scout. With the revolutionaries slowly beginning to realize Americans missing and the White House getting cold feet, time begins to run out.

Depending more on the source material than making it appeasing. Argo is rewarded for staying true to the past, investing in the audiences tolerance, and choosing intelligence over appearance. In the lead role, Ben Affleck’s work ethic and exterior are impenetrable, exactly what they should be. You’d want someone calm and composed holding your life in their hands. Affleck is immovable and should have earned an Oscar nomination for his performance. Cranston and Goodman are equally as impressive in their supporting roles, but are an afterthought to Arkin’s Oscar nominated performance. With its strong cast and durable, yet entrancing script. Argo is proof that quality over quantity is the best policy, deservedly winning best picture.

Argo: 9 out of 10.

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