Stig-4 Reviews

Lost Highway (1997)

Lynch 101: i like to remember things my own way, not necessarily the way they happened...

[6 December 2002]

possible spoilers? - Dick Laurent is dead. this is the message fred gets through his intercom at the beginning. the joke is we only get to realize that it was Fred that killed Dick at the end of the picture...

everything in this film is a reflection of the inner workings of a deranged (song title) wife killer's mind. When questioned why he hates videocameras, Fred says: 'I like to remember things my own way, not necessarily the way they happened...' This is Lynch's mantra. Forget conventional storytelling. it's boring, anyway you learn so little from it. the story here is what's inside this man's deranged head, not how things necessarily happened - what you get is a fascinating journey through a clearly sychizoid mind (fred plus that other fantasy guy pete, he wishes he could escape to, but can't). Fun aside (and Lynch lets loose at every occasion; mr.eddy's phone call to check if Pete's 'alright' is priceless...), you might think it's all a bit pointless. True, it doesn't exactly have the pathos of 'Mullholland Drive', and yet it is entirely more fascinating in style and direction - if that matters, is up to you. i prefer Lost Highway. haven't had so much fun watching a film since Bunuel's masterpeice 'Exterminating Angel'.

The Shawshank Redemption (1994)

pleasant trite verging on nauseating

[2/10 · 1 August 2000]

this film is very convincing hokum. nice, gentle, inoffensive and insubstantial story about prison life - I came away feeling prison was a place where nobody says f##k or fears bending over to pick up the soap. check out Freeman, in the token performance of his career, neatly basking in the falsely accused smart white gentleman robbins' shaddow. what a team... so very progressive. 'hope...' . oh yeah, we've got a lot of 'hope' going on here. The lush fantasy kind, so deadly sweet and full of bull. frank darabont is a gifted man who excels in making pretty pictures that strike at the very heart of american pie values and gives them a welcome support by elevating tokenism to its greatest levels in hollywood yet - that is no small achievement, considering... if you don't believe me check out his latest masterpiece, he just can't stop doing it. hell, why not! it sells tickets.

War and Peace (1965)

butchered classic

[3 July 2000]

Do not watch the US video release, it's a disgrace; a bit like cutting off a bird's wings and forcing it to bark like a dog. The original is breathless in scope and profoundly moving - it is in four parts and runs close to seven hours, and there are good reasons for its length as any can guess who have read the book. If only someone had the conviction and decency to prevent this kind of mangling. I wonder how Tolstoy would have felt if they had told him 'War and Peace', the 'US version', would only be published as cliffnotes.

Barry Lyndon (1975)

meticulous, sumptuous, perfection

[10/10 · 5 August 1999]

Of all the genres Kubrick mastered, this period piece seems to be closest to his nature as a complete director. The craftsmanship in this film is breathtaking and flawless. The composition of shots, the lighting, sets, performances, and timing of the plot are unparalleled - even Visconti's sublime 'Il Gattopardo' seems grossly melodramatic and turgid in comparison. Each episode in Redmond Barry's life is so complete that it stands just as well alone as it compliments the arc of the plot. A timeless masterpiece - history will absolve this film from any naysayers, and prove it to be as great as 'Kane'.

Nil by Mouth (1997)

Oldman cuts to the bone

[19 November 1998]

In Sturges' classic "Sullivan's Travels," a swank film director announces to his butler: "I'm going out on the road to find out what it's like to be poor and needy, and then I'm going to make a film about it." The butler snorts: "It you permit me to say Sir, the subject is not an interesting one. The poor know all about poverty, and only the morbid rich would find the topic glamorous." Love it or hate it, Nil by Mouth digs deep inside and never lets you go. Unlike Sullivan, Oldman had only to look inside himself to find his subject. He does an honest and remarkable job. Of course a film of this type is not going to win any Oscars - Oldman didn't make it to please anyone. Most will find this nihilistic and depressing, and they're right. Suffice to say, Oldman is a natural craftsman. If he continues to follow his heart and gut, who knows what else he might accomplish. A remarkable debut.

American History X (1998)

Hollywood's Hollow 'x' is mush

[3/10 · 28 October 1998]

Forget all the hype surrounding Tony Kaye and the suits from New Line preventing him from having say on final cut. Kaye's pic is a dud, even if he had managed to edit those trite images of falling water, and sunset beaches, etc (not forgetting a one legged teddy bear - gee honey, see what I told you, it's a movie about skinheads for the whole family!) Word is Norton had final cut and it shows. The film adores him, but it's all too much. When Norton grimaces after slo-mo action sequence (action b pic 101), his eyes seem to say 'look into my face and see the horror!' I looked hard and found nothing. This film is playschool meets Nazis and it just does not gel. Interested in movies about skinheads, without conventional plot lines supported by cookie cutter players and timeworn twists? See Tim Roth in 'Made in Britain' and Russell Crowe in 'Romper Stomper.' No bs films that tell it like it is. Violent they may be, but violence can't be gratuitous when it is central to the plot. I wish I could say the same for American History x - i.e Norton giving his foe a pavement sandwich. This is Kaye, and/or New Line's way of saying 'we're not afraid to shock! We're true to the material!.' Sorry guys, tag on violence don't make it so.

Grand Canyon (1991)

Kasdan's Canyon is not so deep

[1/10 · 27 October 1998]

One of the worst commentaries on social and spiritual oblivion in LA. This is the most embarrassingly misguided 'feel good' movie out there. Guilt ridden and spiritually dead whites make good by befriending token blacks. Tedious characters torture us with their ponderous urban angst and self reflectivity, then link arms and go to Grand Canyon for affirmation of their universal insignificance. A revelation for New Agers, others will do best to stay away.