hesperuswreck Reviews

Orange Is the New Black (2013–2019)

Orange is the new Brilliant ***MILD SPOILERS***

[9/10 · 14 June 2014]

I just finished watching the second season and I'm still smiling after seeing the final scene in Episode 13: I won't spoil anything here except to say that I've seldom seen a more gratifying series finale that made the darkest moments in this season well worth waiting out. Brava to the writers! I'm commenting here based on some disturbing user reviews on the series that I've been skimming here. Apparently some people have decided that the Piper character is the definitive representative of white upper middle class privilege, that "Pennsatucky" is intended to define all lower white evangelical Christian tweakers, Sophia is the definition of a transgendered person, etc. This simply is not true. All the inmates depicted here are really unique individuals, and the background stories really drive home that point. There is no comparison between the backgrounds of Taystee, Poussey, Suzanne, or Janae, for example. The only thing they have in common is that they're black women close in age. Piper is NOT the "heroine" of this story. That's kind of the point and I don't think she's being shown as such. I really liked seeing her further evolution in Season 2, especially when she realizes what bugs her the most about the naive newbie, Brook. Brook is kind of a doppelganger of last year's Piper. Unlike the first season, she's figured out this year how to survive, using her selfishness to her advantage without completely losing her capacity to care about those around her. The background stories we see this year are revelatory, from the ditzy Lorna Murillo's walk on the dark side of obsession to Poussey's teenage years as a German-speaking army brat and best of all, the wild rides of Miss Rosa, a woman we've only seen before blending into the background of the bunk beds. While Season 1 was primarily exposition, Season 2 has a central story arc around which the smaller subplots develop, and that story arc really brings some of the inmates together and drives a wedge into the relationships of others. Expect to see a resolution to the story that leaves you breathless by season end. I loved how the writers spun this story while simultaneously telling others. A lot of reviewers have complained about the nudity and language on this series. I do think Season 2 is a little less graphic, but really, don't watch this if you're expecting Girl Scout Camp in Disneyland. We're in prison here. Keep your minds and your hearts open. These women keep it real.

The Bridge (I) (2013–2014)

Promising...

[9/10 · 14 July 2013]

Although it's an acquired taste, any fan of AMC's "The Killing" will quickly pick up on the parallels in this unusual murder mystery. It features two oddly paired police detectives, one from the El Paso police and another from Ciudad Juarez. As in the killing, the female detective is dedicated but personally challenged by an imbalanced personality and a singular drive to follow her leads to the bitter end. Unlike other viewers, I like Diane Kruger in the role and think we're only seeing the beginning of her personality development: I do believe she is an Asperger's sufferer and captures the traits of one afflicted with this quite well. There are many high-functioning and accomplished individuals with these symptoms all around the country, and in many ways, her focus on the details and minutiae of this case will help rather than hinder her along the way.

As her mismatched Mexican partner in the investigation, Demian Bechir possesses all the odd charm of his counterpart in "The Killing," the streetwise and pragmatic Detective Holder.

I've never seen a TV program that focuses on a sensitive border issue or the tragedy of so many murdered girls in Juarez, so I applaud FX for giving us something truly original. "The Killing" is the only thing remotely comparable to it, and I actually like the same type of slow unraveling of a gripping mystery we're being drawn into. I'm so weary of the CSI and Law and Order one-hour quick kill and wrap-up compacted into one hour of predictable procedural. I'll definitely keep watching!

Miller's Crossing (1990)

"Still an Artist with the Thompson"!

[10/10 · 4 February 2007]

I'll make my comments short and sweet since so many others have managed to express what makes this film a true Noir masterpiece.

I've watched it about a dozen times now since its release and I rarely watch even a good film more than once or twice. This one just has so many layers that make it interesting, and I don't think you can catch all the witty rapid-fire dialog after one or two viewings.

For me, there is one scene that I rewind and watch over and over again because I think it's truly one of the great cinematic orchestrations ever: I speak of the Albert Finney (Wow, what a consistent pro he is!) scene in which he's home relaxing with a cigar and "Danny Boy" (the definitive Irish-American anthem) playing on the Victrola near his bed. Then all he** breaks loose and we see Finney/Leo dashing under the bed as he senses the gangsters slipping up the stairs, dispatching them quickly after carefully extinguishing the cigar. He then grabs a sheet, swings out the second floor window as the house burns down, grabs the confiscated Tommy gun and dispatches the gangster army one by one with great precision while standing outside in his robe and slippers. Satisfied that he's vanquished the enemy, he tenderly pulls out the cigar from his robe pocket, torches it up again, and proceeds to enjoy the final refrains of Danny Boy as the house burns. Amazing scene! Not only was it incredibly well-constructed by the Coens, but Finney plays it with such a sense of "just another day at the office" that you can't help wanting to light up a cigar of your own to enjoy it with him.

I can't get that scene out of my head and have even dreamed about it. A few years ago, I would have rated this film around an 8, but after watching it and the entire, almost-perfect film repeatedly, I have to concede it's become an all-time favorite, and I'd rate it 11 if I could! Great cast (particularly Finney, Byrne, and Harden), great screenplay, fantastic cinematography, and the Coen Brothers are the only team that could have pulled this one off so well: about the best in American film.

A Slipping-Down Life (1999)

Invisible takes on meaning...

[8/10 · 27 January 2007]

I just caught this film on IFC late one night and was drawn to it by two actors I've always admired in other films: Lili Taylor and Guy Pearce.

Although Lili delivered her usual unique, offbeat take on a complicated character, I was especially impressed by Guy Pearce, an Aussie who nailed the Carolina dialect and surprised me by his musical acuity. I found him as magnetic as Evie/Lili did, though you wouldn't find me carving his name on my head for love or money! But I get why she did it. She's living a stultifying quiet life, wondering if she could just disappear off the face of the earth and probably no one but her devoted Dad would notice. She looks in the mirror and sees a plain, blank face and slumps through her plain, blank life. Several people have commented that his almost grunge musical stylings are way ahead of their 60's time setting, although I found no difficulties accepting that premise. Evie sees him as ahead of his time and bursting with potential, while the rest of the town (with the exception of the hoochie women attracted to his fine physique) just view him as a weirdo. And I think that's the bond that eventually makes him fall for wise and weird little Evie.

I missed the first few opening credits so I didn't notice that this was an Anne Tyler concoction. But halfway through the movie I found myself thinking that the internal lives of these characters were very reminiscent of Tyler: Think about Geena Davis' quirky and devoted dog trainer pursuing the emotionally stunted William Hurt in "The Accidental Tourist," and you can see the parallels.

No, this wasn't a "great" film in the Hollywood mode, but so what? It moved me. I was drawn in and wondered how their lives played out at the end. They probably should have headed for Seattle, where young Drum could have found himself giving Kurt Cobain a run for his money later on. Pearce himself should think about diversifying into a musical career: what a voice and presence! Not a flick for everyone, but it will hit home to those who are able to suspend their disbelief and "be there" for it.

The Departed (2006)

Enough about the "original" already!

[7/10 · 22 October 2006]

Well, my difficulties with this flick seem to veer off a bit from other reviewers on the site, so I'll just put in my 2 cents and leave 'em on the table: 1. Is it absolutely mandatory to have seen "the original" screening of the Hong Kong adaptation of this story? Filmland is full of different interpretations of the same source material, and I think one has to keep an open mind when viewing the latest. Many people dismissed the most recent reincarnation of "Vanity Fair" due to earlier interpretations of the story. As for myself, I found the 'Bollywood' additions creative and appropriate.

2. That said, I would have rather seen another director's reinvention of the tale, much as I'm often wowed by Scorcese. I keep thinking about Clint Eastwood's masterful production of the similarly-themed "Mystic River," and wonder if the story itself may have been more concisely told and still have retained the somewhat Shakespearean element referenced in this film.

3. There were some bothersome plot holes in this film that I kept waiting for some explanation for. Why did Costigan receive "therapy" from the police psychiatrist in the first place if only Queenan and Dignam were aware of his true identity as a cop? Where was there any evidence that there was another "rat" besides Sullivan in the department until the bloody end? How did Sullivan explain the bloodbath in the elevator exactly? Was the female shrink's baby fathered by Costigan or Sullivan? The subplot concerning Costello's role as an FBI "rat" may have been easier to swallow if there had been even one example of this particular treachery somewhere in the film. Oh, I could go on...

4. Many people didn't like the ending, perhaps based on the "original." I had mixed feelings, because I smelled it coming. Dignam disappears for an inordinately long stretch at the end of the film (and his exit was a mite unbelievable, as some have mentioned.) So I'm sitting there for 20 minutes or so thinking that Dignam will return to finish off Sullivan. No surprise there, and just one last body on the mounting pyre. Classic Scorcese blood fest. Liked it better in the underrated "Gangs of New York." Alright, So I've poked a few holes in this otherwise riveting gangster-cop saga. Overall, I agree with the comments applauding the cast, but I actually was relieved that Nicholson wasn't as "over-the top" as I feared he might be: just about right for the flamboyant character he played. And add me to the list of people who weren't big DiCaprio fans until this film. He should keep working with Scorcese, who seems to be guiding him well lately. I loved seeing fresh-scrubbed Matt Damon as another wolf in sheep's clothing (e.g., "The Talented Mr. Ripley"), too.

I'll keep watching Scorcese films, bloody and tragic as they are. But I still keep thinking he has at least one more coming on the level of "Taxi Driver." May it arrive soon!

Brokeback Mountain (2005)

Actors equal to the superb writers

[10/10 · 15 January 2006]

Wow! I've read everything written by E. Annie Proulx and she is among my favorite contemporary writers, but Ang Lee and his extraordinary cast (particularly Heath Ledger) have captured her bleak, quirky view of Americana perfectly. The screenwriters, too, have really done the trick to get the feel of Proulx's down-on-their-luck folks. I'd like to forget the mediocre rendition of "The Shipping News" and hope Lee has a crack at my favorite Proulx saga, "Postcards," another sweeping tale that will break your heart while it invites you into its America-off-kilter world.

Forget the "gay cowboy movie" hype this movie has undeservedly received. You'll probably get that nasty moniker out of your head after the first 15 minutes of this true to its time Western with an aching soul and spirit. This is Wyoming and Texas in the 60s and the fear that that Ennis and Jack experience is palpable. Is this a movie about "forbidden love?" Well, yeah, I guess. But it's more accurately a low-key view of characters repressed by a foolish and unforgiving social environment. And I should mention that the cinematography gives it just the right feel. Everyone should see this no matter their views on the subject matter. A gem.

Dead Man (1995)

It's a Tiger Burning Bright!

[10/10 · 23 August 2003]

This is a movie that you either love or hate. I love it. Even if you can't appreciate the poem-like presentation of the narrative or the dark humor embedded in the tale, there is the beautiful texture of the black-and-white cinematography (particularly in the forest scenes) and the haunting guitar tracks.

It's unfortunate that mainstream critics have been spoon-fed so many formulaic blockbusters that they can't recognize a true gem like this one.

I think this is a film that will gain respect as time goes on and more people pick it up on DVD. It's already on my all-time top ten list.