Get Smart (2008)

3/5

Get Smart is one of many modern movie adaptations of old TV shows. I've never seen the original, but I'm glad for it (apparently a number of reviewers find it to be unfaithful). It's a spy movie spoof about a bumbling new field agent chasing after terrorist bad guys. The story is pretty bare bones. Naturally, the music, cinematography, and editing are all adequate and forgettable. But it's a great combination of hilarity and action. The best part about this movie is the characters, the interactions between them, and the actors portraying them. I love Steve Carell in everything he does. I'm not a fanboy--he just hasn't let me down. Ever. If you love Steve Carell, you will love this movie. If you don't, I don't know who you are or why you're reading this, because you're obviously not my friend. Anyway. Just know that this is a very entertaining, very light, action comedy movie. And enjoy!

IMDb link: http://www.imdb.com/title/tt0425061/

El Dorado (1966)

4/5

Howard Hawks's El Dorado is a loose remake of his earlier, better Rio Bravo (read my review here). The story isn't as interesting, the characters aren't as rich, and the comedy is nearly absent. Much is the same, but a little bit cheesier. Both films have lackluster cinematography. The pacing is fluid and the story is solid, even if they lack innovation and novelty. What El Dorado does have over Rio Bravo is better actors and more exciting action. All in all, it's an entertaining story told effectively. If you're looking for a fun western, check this out. If you're looking for a great western, check out Rio Bravo.

IMDb link: http://www.imdb.com/title/tt0061619/

Thief (1981)

2/5

What I love about all of Michael Mann's movies is the mood, the sense of cool. Even if you have no idea what's going on, you always get a feeling of just how awesome the people you're watching are. The second quality is the acting--Mann consistently manages to bring out the best in his actors. That's all this movie has. Oh, and good music, although it's heavily dated with its 80's techno synth rock.

The movie attempts to combine heist movie with family drama. It doesn't work because the tension is lost with the dramatic punctuations and the drama never gets fully explored because the heist elements remove a sense of realism. The plot is convoluted and unclear; you have to pay extremely close attention to the dialogue to know what's going on. Even then, you might still have trouble because a lot of the time there are no establishing shots (in the adoption agency, for example). The editing is awful. Scenes go on for way too long, often without introduction and ending suddenly. The sound work is even worse; it reminded me of my own movies. The dialogue is hard to understand as a result, which makes the plot confusing as well. And that's not something you want in a professionally-produced feature film.

IMDb link: http://imdb.com/title/tt0083190/

The Godfather (1972)

5/5

The Godfather. What can be said that hasn't already been said? This epic saga is an unforgettable foray into treacherous deception and shifting loyalties that many have termed the best film of all time. I cannot disagree with that claim. I can remember every scene of this movie; every frame burns itself into your brain. It is beautiful, it is heart-breaking, and it is amazing.

On this viewing, I paid more attention to the subtle acting of the piece. Pacino's typically flamboyant "overacting" is here perfectly underplayed. He never yells, and is more fierce in his softness. He is emotionless and business-like, and is all the more terrifying for it. "Don't ever take sides with anyone against the family again. Ever." Brando's fury is evoked in brutal glances (when Sonny speaks at the first Sollozzo meeting, watch Brando's reaction), his sadness in lowered eyelids and sagging weight (I can never forget his breakdown in the mortuary). His character is explored by his reactions: "I want no inquiries made. I want no acts of vengeance." His choice of words as essential as his delivery. Vito Corleone's business success has been due to never showing weakness, and it almost prevents him from weeping for his lost child.

My focus on minutiae exposed me to the extent of the plot's byzantine twists and turns. Coppola intercuts three different scenes together. He fast forwards, showing the plan while the characters are simultaneously discussing it. I had never noticed before just how confusing it could get because I was always utterly enraptured by it. The cinematography is spellbinding. I hadn't before realized how stylistically similar The Godfather was to film noirs. Deep shadows clothe faces and envelop bodies. Profiles and silhouettes present themselves. A chiaroscuro sepia ages the film well, emphasizing lighting over color. Off-kilter angles at tense scenes increase suspense. And unbelievable composition, framing, and movement all glued together with exceptional editing. Never have dissolves been used so effectively and so unobtrusively. The choices of when to cut and when not to (a perfect example is the first shot of the film) are intelligently made. The score by Nino Rota is so utterly absorbing; it is without a doubt one of the best ever put alongside film.

I love how every scene has a purpose, how themes are revisited and reversed; I find it sublimely poetic. Every character requesting something in the first scene must eventually repay their debt. Bonasera's story in the beginning has a truthful core and false embellishments, while Michael's denial at the end is a lie at heart but honest in motive. Analytically, Michael, Sonny, and Vito form a perfect trifecta. All business, all personal, and a combination of the two. I could go on for hours about this piece and its thematic merits, but a blog is neither the correct medium nor does it have the professional air. I would just like to end this review expressing my reverence for the film as entertainment and also as art. It must share the title of best film with The Rules of the Game.

IMDb link: http://imdb.com/title/tt0068646/