Raging Bull (1980)

5/5

Martin Scorsese's Raging Bull is a true masterpiece, one that asks hard questions and gives no easy answers. Shot in gritty black and white, it tells the true story of boxer Jake La Motta's rise to stardom and eventual disappearance from the limelight. Watching it a second time, I found the film surprisingly noir. Here we have a man fated for self-destruction, unable to control his excessive temper and inhuman jealousy. We have a tragic antihero, a flawed man whose rage grants him success in the ring and ensures his downfall outside of it. We witness a filthy, vulgar underground; we are awash in blood and sweat and raw anger. It is an experience we will never forget.

What everyone remembers when they first see this movie is De Niro's undeniably skilled portrayal of La Motta. And for good reason--it is a powerful, gripping performance. Some have zeroed in on Pesci's equally talented acting job, and one equally worthy of praise. But what I cannot get out of my mind after this viewing is Thelma Schoonmaker's brilliant editing and Scorsese's unerring cinematic eye. Together, they are simply on a level all their own. The overarching structure reveals just as much as the content therein. The camera movements, the decision to film in long takes or quick cuts, are crucial to our experience of it. We remember snapshots in time, we remember the shift of conversations, of moments in time, and of changes in emotions because the techniques employed are subtle and subconscious. The sheer technical bravado on display is jaw-dropping. It is through the editing and cinematography that we truly live this movie, that it takes on realism that few other movies have been able to replicate. As I said before, it is an experience we will never forget.

To watch this movie is to submit yourself to a terrifying worldview, to violence in the ring and abuse in the home, to unwarranted jealousy in the face of true fidelity, to paranoia that can forever damage family ties, and to the fears of inadequacy. To a man who desparately wants to change and cannot. This movie is effective at bypassing your mental defenses, which makes it all the more difficult to sit through. It plays with time, color, and words, seemingly innocently but ultimately to devastating effect. The few short moments filmed in color we see happiness; these fleeting memories occur in the midst of pain and destruction. Is it to punish us or to encourage us? And at the end, is there redemption? You must watch this movie and determine the answers for yourself. For me, I cannot recommend it enough.

IMDb link: http://www.imdb.com/title/tt0081398/

The Yakuza (1975)

4/5

The Yakuza is a well-crafted story finely-tuned to the silver screen. Written by Paul Schrader (Taxi Driver) and Robert Towne (Chinatown), the movie continually sucks you in. Deeper and deeper into its vision of cruel blackness and vengeful hatred. What starts off as a (relatively uninteresting) story of a WWII veteran (Robert Mitchum) who returns to Japan to retrieve his friend's kidnapped daughter turns into a fascinatingly complex study of honor and duty. With a terrifyingly tense climax. While some have said that the movie is about Japan, I see relatively little about Japan as a country. It is a gangster film at its core, and a great one at that.

The story, the characters, and the themes it presents are some of the best aspects of this movie. Sydney Pollack's directing is also great, with phenomenal music and excellent cinematography, shot compositions, and camera movement. Casting and acting were also spot-on. The performances were realistic and subtle, electing to remain in the background of the incredible story instead of stealing the spotlight. While I disagreed with some of the editing choices, there were very few technical flaws in this movie. (On a side note, I did find it difficult to understand some of the thicker accents, but it wasn't too disorienting.) If you like gangster movies, I highly recommend this movie. (And if you have Netflix, you can watch it for free online, like I did. Unless you have a Mac, that is.)

IMDb link: http://www.imdb.com/title/tt0073918/

Bringing Out The Dead (1999)

3/5

Bringing Out The Dead follows Frank Pierce, a paramedic in New York's Hell's Kitchen who hasn't saved anyone in several months and has become haunted by ghosts of those he lost, for three of the busiest days of the year. The cinematography is absolutely breathtaking. There is one extremely surreal sequence in wintertime, with snow falling upwards, that is almost too powerful. The visual imagery throughout was awe-inspiring. The editing was brilliant as well. The intro credit sequence was the best part about the movie, although it set my expectations impossibly high for the rest of the piece to follow. The music throughout was exceptional at setting and maintaining mood. Without the music, the movie would be a completely different experience--a much worse experience.

The exotic cast of characters, while played extremely well by more than capable actors, felt a bit too exaggerated for my tastes. (Also, every time I saw Marc Anthony on screen, I thought of Johnny Depp.) It seemed as if Scorsese didn't know whether the film should speak to us on a dramatic level or a surrealist level, so he did both. The result is an uneven movie that doesn't quite satisfy. On another note, I wasn't too keen on the depiction of the paramedics and people in the health profession overall--they all just seemed insane. And I felt a lot of the dialogue and voice-over narration was stale, uninspired, and just plain boring. Also, the stock plot conflict and resolution was predictable and painfully simple/bad. Whatever. It's a Scorsese picture, so you gotta see it. And for the quality of the cinematography, editing, and music you've come to expect in his pictures, you won't be disappointed.

IMDb link: http://imdb.com/title/tt0163988/

The Last Temptation of Christ (1988)

4.9/5

The Last Temptation of Christ is a powerful fictional account of the human nature of Jesus; his wants, his fears, and his temptations. The music was amazing, and an absolutely perfect fit from start to finish. The most cinematically lush scenes I found were when the camera rapidly and unexpectedly went over the edge of a cliff, the aggregation of followers in the desert, and the raising of the cross. (I know there are many more that I'm ignoring.) Though there were numerous stunning images and ideas presented (not the least of which being the titular final temptation), I personally found the most powerful one to be the possibility that even without Jesus' sacrifice and resurrection, Paul still spreads the gospel exactly the same as if that had taken place. Did Jesus need to die if we believe it all anyway? The other striking feature of this movie is the mesmerizing and sympathetic image of Judas that is painted. He is a man who makes arguably the bigger sacrifices by agreeing to betray Jesus so that Jesus could die and save mankind.

--"If you were me, could you betray your master?"
--"No. That is why I got the easier job. To be crucified."

I don't know what it was about it, but some of the filmmaking had a very 80's feel to it. The dialogue was a mix between natural speech and epic monologuing. Sometimes it flowed well from one to the other, but often it was a jarring disjunct that took me away from the movie. There seemed to be some unnecessary slow parts and some flashy but ultimately empty scenes. It also seems as if Scorsese went out of his way to show the inhabitants of the gospels as dirtier, more violent, and more extremist for the sole purpose of challenging your Sunday school interpretations. The subject matter limits the audience to the devout but questioning Christian, and the length limits the audience even further to only the most interested. But if you fit within that very select group, you will find an astounding film to watch, analyze, and remember.

IMDb link: http://imdb.com/title/tt0095497/