The Remains of the Day (1993)

THE REMAINS OF THE DAY
DIRECTED BY: JAMES IVORY
WRITTEN BY: RUTH PRAWER JHABVALA
NOVEL BY: KAZUO ISHIGURO
OVERALL SCORE: 8.50/10

Seemingly cold, and emotionless, butler Stevens (Anthony Hopkins) reflects upon his years with Housekeeper Ms. Keaton (Emma Thompson), and their master, Lord Darlington (James Fox) a German sympathizer in the days leading up to World War II.

"a man cannot call himself well-contented until he has done all he can to be of service to his employer. Of course, this assumes that one's employer is a superior person, not only in rank, or wealth, but in moral stature."

Quiet to the greatest degree of almost void, The Remains of the Day is a sincere look at the traditional Butler, and the element of stoicism they must portray. The emotion conveyed behind each of Hopkins stares, but always repressed, hits right at the viewer through each passing scene. His efforts at opening up hit at the iron wall built by years of neglected intimacy, always opting to battle immediate feelings in favor of cool thought.

Hopkins handles this portrayal not only with great subtlety to the finer characteristics of his character, but also with a depth of sincerity one may find striking. The kind of performance that grasps at you for all that is repressed, and never shown.

Thompson supports Hopkins with a emotionally sound, mentally strong, opposition to the main Mr. Stevens. Her Ms. Keaton delivers the right balance of heart, without seemingly too counter to the lead. She's the emotional crutch, and often represents the feelings he so greatly represses. The unrequited love that develops between them, through emotional barriers, gives the film an alluring element of heart.

Supporting roles by James Fox and Christopher Reeve (yes, that one) add the final touches to Ivory's beautiful film. Never bothering to stand out, and try to make us go wow with fancy costumes, The Remains of the Day is an old school English drama about the characters. The scenery, in this case Darlington Hall, reflects the final time in which Lords paved the way of the future, and those of lower class held no say.

The last thing to mention ought to be the writing, including both Ishiguro's novel and Jhabvala's screenplay. To say the writing is great would be an understatement. The writing gives life to all Ivory, Hopkins, and company deliver. Witty, with an element of charm, and enough sense to know when it needs to lighten up, and when it needs to get serious. I dare say it's a movie I'd watch again if for no other reason than the many wonderful conversations, and hidden allegories, sprinkled throughout each new scene. The final notch to one of the better movies I've seen in quite some time.

Though it may lack action, Remains of the Day makes up for it in careful attention to character. Memorable for their unspoken depth, that seeps through the screen with each subtle facial twitch. Remains of the Day is a crowning character study film, the likes of which few shall replicate with as much attention to detail. Let alone as much heart, and care, for the weaknesses of its characters.

Princess Mononoke (1997)

PRINCESS MONONOKE

WRITTEN AND DIRECTED BY: HAYAO MIYAZAKI
TOP 100 FILMS: #53
OVERALL SCORE: 10/10

After a demon boar infects his arm, Prince Ashitaka, the last remaining royal heir of a tribe wiped out by the emperor, sets off on a journey to find his destiny. Along the way he finds himself caught in the middle of a war between the animal god Moro, her human child, and an ever expanding Iron Town which seeks control of the forest.

"What exactly are you here for?"
"To see with eyes unclouded by hate."

Early in the film, just after having been told his condition is irreversible where he now lives, the town elder tells Ashitaka that now all he can do is rise to meet his fate. To accept the path his life has taken, and go off to seek his destiny. Perhaps that is what is most earth shaking about Miyazaki's 1997 masterpiece (says me). The movie, no matter how you slice it, is the ultimate combination of everything Miyazaki had worked to create up until that point.

A movie about man's desire to control nature, it's desire to repel us, and the work of one to show them how they can find a middle ground. The notion of living in harmony with the earth so prevalent throughout his work, finds itself at the forefront of this visual art. And art is what it is. Using tons of textures, and amazing images Miyazaki created a world as rich as any he's created before, and since (though Spirited Away still takes my #1 spot).

To get this Miyazaki pushes his narrative into realms far darker than he had ever traversed before. Princess Mononoke deals with the most rash, and dark, of animal instincts: hate. And when you combine hate with greed, you can destroy everything pure. It's something each character in the film must rise to face. Everyone loses when you can't let go.

In showing us this, Miyazaki takes the time and effort to develop all of his characters. We see multiple sides to them. Their dark ambitions, and their saving graces. None of the leads are left too simple, straight, and each falters along the way. Breathing life into each scene, they become as deep as the forest itself. Rich with layers, and mysteries to solve. Each new scene with something to offer the viewer to chow down.

Ashitaka provides heart, and morality. San (the human child) provides perspective. Eboshi (female leader of Iron Town) offers us the future, with sympathy. Monk god-hunter Jigo the cost of greed. While the Gods Moro and Okkoto giving us experience and depravity. So much richness, with beautiful lines to deliver. And when you have such amazing voice work in both Japanese (Yoji Matsuda, Yuriko Ishida, Yuko Tanaka, etc.) and English (Gillian Anderson, Billy Bob Thorton, Mini Driver, Billy Crudup, Claire Dames, etc.), it's just a sight to be had.

Not to mention the action. Easily becoming Miyazaki's most violent film (for a PG-13 animated film there sure are a lot of decapitations). But in that violence Miyazaki builds character. A rarity in cinema these days, where violence is used for quick shots of entertain. Here it combines both to create something more. And for that the viewer gains a wondrous story to absorb.

The kind of story that's morals stick with you. The kind of story you can revisit anytime. Because it is so deep. Because there is so much too it. A new treat for each visit. A rare film that exceeds any genre by being a bit of all genres. One I highly recommend you check out any chance you get.

Princess Mononoke is the rare kind of animated film that reaches beyond all genres, creating a life unto itself. A story packed with heart, depth, and life you can't help but be absorbed by it. While the performances and writing are there each step of the way to match Miyazaki's ambition.

Glengarry Glen Ross (1992)

GLENGARRY GLEN ROSS

DIRECTED BY: JAMES FOLEY
WRITTEN & PLAY BY: DAVID MAMET
OVERALL SCORE: 8.75/10

Threatened with being fired if they can't make it to the top of their sales board, three salesmen (Jack Lemmon, Alan Arkin, and Ed Harris) clash with their young manager (Kevin Spacey) over the lack in quality of their leads. Meanwhile the current hot shot (Al Pacino) works to make his last big sale of the month on the unsuspecting James Lingk (Jonathan Pryce).

Performance films are inherently very difficult to review. The power of the performances and characters laid out before the audience often push plot and directing to the background. And in many ways Glengarry Glen Ross is a film that plays out much like a theatrical play. Fixated on a couple of locations we follow our group of main characters as they deal with the various situations before them.

Each conversation opening up a new spectrum of a character's personality. Each playing to the backdrop of a tough guy, tough sell, world, where money made is the bottom line. The speech by Alec Baldwin in the first 15 minutes lays the groundwork for this mentality. The mentality that if you can't make money for your company you're nothing. It's a harsh point of view, but one none to uncommon, and perhaps far too prevalent.

Though that's what allows Glengarry to succeed so amazingly. Glengarry shows what happens to men pushed to the edge of the corporate machine. How each person will react differently, and the ultimate personal consequences of said reactions.

The dynamic shared between them is captured with great marvel for the performance by Foley. He works the camera to really highlight the facial expressions, and talent he has available. While at the same time understanding the limitations of his story. The plot is the characters, and what they ultimately do, or don't do, over the course of these two days. He doesn't get fancy, and he doesn't get obsessed with cutting. He places the camera on the performers, and allows them to take the script to that next level.

Of course when Mamet steps up to the plate with brilliantly done writing, every performer would feel that empowerment. The characters, the structure, and of course, the dialogue, all give such a natural flow to the events. Giving an uncanny sense of reality to the whole scenario, that makes it so relatable.

Put it all together and Glengarry Glenn Ross becomes a film real performers dream of. A highlight to the craft of acting, and capturing the realism of life through steadfast direction and writing.

Glengarry Glen Ross is one of those rare films where each performance feels like a gift for the viewer. Nicely wrapped up in captivating characters, each with a great deal of depth, and ambition. We see their highs and lows, and what makes them who they truly are. For that, it's well beyond the price of any admission.

Rurouni Kenshin (1996 - 1998)

RUROUNI KENSHIN (AKA SAMURAI X)

SERIES DIRECTOR: KAZUHIRO FURUHASHI
STUDIO: STUDIO GALLOP + STUDIO DEEN
NUMBER OF EPISODES: 95
OVERALL SCORE: 8.75/10

Himura Kenshin, formerly known for his brutal manslaying, has taken it upon himself to leave behind his violent ways, and now wanders Japan aiding those in need with his reverse blade sword. Haunted by his past, he meets local dojo master Kamiya Kaoru, and the two begin a deep friendship, and go on many harrowing journeys.

It's nearly impossible to review a series like Rurouni Kenshin by today's standards. It was a breakthrough in more ways than one, and laid the ground work for episodic samurai tales that would follow. Still, for a movie with as much dark and entrancing past, the series is a rather goofy and amusing affair.

Basically the series breaks down into three parts. There's the first 20 episodes or so, which are mostly episodic, and serve the purpose of introducing the key characters that will re-occur throughout the series. The second is what is commonly known as the Kyoto Arc, which is a single, near 40 episode, story that evolves and delves into the various established characters. Then there's the final 30 episodes which returns to the episode format, and is more of a "return home" series, and a cool down from the emotionally intense central arc.

It's hard to review these as a whole, but when stepping back the strengths and weakness of the entire story are rather well laid out throughout each. It's easy to say that the Kyoto Arc is the highlight. It's dark, action packed, and yet develops the characters, and exposes their various struggles, especially with their past. While on the other side of things, the first and last series are much more fun, and goofy, with some emotion, usually around side characters, introduced. Don't let that fool you though, some of the arcs will really hit you in the gut emotionally.

Compound that emotional impact with some absolutely beautiful imagery and animation, and it's no wonder the series gets so much love and respect. Personally, I was hooked from the get go. Watching all 95 episodes in about a week. The characters are fun, creative, and supplied with enough depth to make them interesting. Their relationship dynamics, and how that evolves, stands strong as a centerpoint to the series.

As for the downside of things, my complaints really lay in two parts. First, since our main character is such an incredibly powerful one, it's hard to take many of the challenges he faces seriously. And some attempts to make them more severe feel forced, and not all that effective. This is especially prevalent after the Kyoto Arc, and the raw intensity it presented. In some part this is due to the series heavy departure from the manga, avoiding Kenshin's personal, and painful, past and instead opting for a more episodic flair. Though this past is touched on in one of the OVAs (Trust and Betrayal).

The other is its approach to the romance. While the manga has no problem being a romance journey, the anime seems much less confident in the characters. Instead the series opts to dance around the issue. Throwing you reasons to believe it and reasons to doubt it, and while that works for some, after 95 episodes, just making up their minds would suffice... and, they never do. The final episode is the most painfully obvious testament to this. As it manages to offer nothing that episode 65, 30 prior offered in development.

But, the fact that you watch those 30 episodes is proof of just how well done the series is overall. These filler episodes, like any show, range from great to mediocre, but I found even the worst ones entertaining. If only they hadn't deviated so much from the anime, the final collection wouldn't feel so much like a stumble to the finish line. Then again, few shows know when to go out on top.

While Rurouni Kenshin is undoubtedly classic in the anime genre, and a truly enjoyable viewing experience, the strength of its middle section does highlight the weaknesses of the other two, as it drags out its finale with far too many filler episodes.

Ninja Scroll (1993)

NINJA SCROLL

WRITTEN AND DIRECTED BY: YOSHIAKI KAWAJIRI
OVERALL SCORE: 7.25/10

Wandering ninja for hire, Jubei (Koichi Yamadera) is suddenly thrust into the middle of a battle for the nation of japan when he rescues Kagero (Emi Shinohara), a fellow ninja who is quite literally poisonous, from being raped by a mysterious man, made of stone. Now the two must team up to uncover the mystery behind a group of demons... one of whom is tied heavily to Jubei's past.

Some anime films, even I openly admit, are incredibly hard to review. Ninja Scroll is well considered a classic staple of the samurai anime genre. At the same time it's not an easy pill to swallow. Dealing with homosexuality, rape, extreme violence, and demonic incarceration it's safe to say those with a weak stomach dare not enter here. Heck, for the first hour I was unsure what kind of anime film I was really watching (to say this film is shy in terms of sex, nudity, and blood would be an understatement for the record books). I was concerned I was had walked into the world of a sexually deprived monster grasping desperately on to any form of insane violence of odd sex they can come up with.

....Then it occurred to me, that's exactly the world I had walked in to! You see Ninja Scroll, while riddled with some amazing animation, intriguing plot developments, and action is a movie more about socially disconnected warriors, all trying to get what they can from society. Some want sex. Some want violence. Some want power. And others, well they just want to be left the hell alone. In some cases, well, they want a little bit of everything. Ninja Scroll walks deep into the darkest aspects of society, our hidden shadows, and attempts to show what happens when we fail to control ourselves. The villains aren't just villains, they're sadistic, highly sociopathic, and to be frank, our heroes are just barely a few steps above.

Still, I found myself a bit wary of what all it presents. While the story is solid, if not a bit out there (even considering), Ninja Scroll seems to lose focus at times, instead wanting to concentrate on swift visuals. As well, the animation struck me as a bit odd. Perhaps a bit too comical considering the dark nature of the film? Really, I get people have broad shoulders, but they're not 3/4 the size of the body. Still, even then, what it struggles at time in animation, it more than makes up for in consistent visual strength. Much attention is taken to the scenery, and rightly so as it plays a good part in much of the film. It may not blow your mind, but Ninja Scroll is rightfully beloved among fans of the genre.

Ninja Scroll is an incredibly violent and dark film, to say the least. But still there's enough commentary, and strength of story and visuals, to make up for any angst you may have in watching it. I just say, those with a weak stomach, dare not enter.

The Adventures of Priscilla, Queen of the Desert (1994)

THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT

WRITTEN AND DIRECTED BY: STEPHAN ELLIOT
REVIEWED FOR: 1001 MOVIE CLUB
OVERALL SCORE: 6.25/10

Three drag queens (Terrence Stamp, Hugo Weaving, Guy Pearce) travel in a bus across the desert to perform an act at a hotel as a favor for the ex-wife of one of them.

Some movies are cult hits because they bombed upon release and later gained a following, and some movies are a cult hits because they simply just appeal to a certain sect of society. Priscilla is, by all means, the latter in that argument. Over the top with attitude, costumes, and characters, Priscilla is part absurd adventures and part humanization of drag queens and transsexuals in our society. It handles both of these amusingly well, but at the back drop comes the fact that if you already humanize them, and don't care for their outlandish outfits, you'll find yourself annexed by the film.

Grounded by three solid performances, from three people whose movies I grew up watching, Priscilla is able, on some level, to shine a light on the difficult lifestyle of drag queens. While it does attempt to understand them as well, each cast member getting a single flash back, in some, what I would call mis-guided, effort to explain where they come from. It's simplification is matched only by the absurd, and sometimes funny, situations they get them into. On some level I felt as if the movie was trying to force me to laugh at them (especially when it comes to the outfits), instead of with them. Yet these are three real people, with real social struggles, and personal dreams.

Not all of these are well explored, and the movie gets by on the many entertaining situations it puts them into. But finding reasons to care is really up to the viewer. Priscilla drops you a few lines here and there, but much of the film's development doesn't take place except in a couple of setup scenes. In between there's a lot of singing, costumes, dancing, and boredom. If you're into the music you'll likely find this fun, and full of excitement. If not, you'll be stuck perhaps laughing at their actions, or trying to understand why. Still I suppose I sound a bit too negative. I got a good amount of laughs from the movie, and it held my attention perfectly fine, I just never felt enough of a connection to really care, or enjoy, everything it presented.

While it's outlandish persona will inspire love from many, it only managed to inspire indifference from me, someone who was looking for a little less pizazz, and a little more heart.

The Hunt For Red October (1990)

THE HUNT FOR RED OCTOBER
DIRECTED BY: JOHN McTIERNAN
WRITTEN BY: LARRY FERGUSON & DONALD STEWART
OVERALL SCORE: 10/10
TOP 100 FILMS: #54

Up and coming CIA Analyst Jack Ryan (Alec Baldwin) is in a race against time when Russian submarine captain Marko Ramius (Sean Connery) takes a state of the art nuclear submarine, and directs it right at the USA. While Ryan believes this may be an act of defection, is the US willing to take that risk?

When I unveiled this list well over a year ago, no movie (with the exception of Wrath of Khan) earned as many head-scratches over its position as this one, and after many viewings, I still stand by this one. You see, in all my years of watching movies I've yet to find many that are as constant upon repeat viewings as McTiernan's Hunt for Red October. Every time I watch this my blood gets pumping, my head gets examining, and I get in the mood for a submarine thrill ride. Much of that I notch up to a killer musical accompaniment, backed by just flat out fun scripting from beginning to end.

Hunt for Red October works because it perfectly balances intelligence, entertainment, and charismatic leads to present one of the most entertaining films I've ever witnessed. Not only that but it has a cast to die for: Connery, Baldwin, James Earl Jones, Sam Neill, Scott Glenn, Tim Curry, Stellan Skarsgard, Jeffrey Jones, Fred Dalton Thompson, and Courtney B. Vance. All of which perfectly capture that combination of fun and popcorn entertainment so many of us seek out in movies. Granted even I'll admit Hunt for Red October is not perfect, but isn't the measure of a quality film one that holds strong throughout viewings?

The greatest asset Hunt for Red October has is that it doesn't have to try and be anything more than entertainment, because at the core of its story it already is more. It's anti-war, pro-action, and all around fun. It manages to to contain lots without forcing any of it. And at the same time it gives birth to one of the most entertaining characters in novel, Jack Ryan (whom I'm a big fan of). He's not the most thrilling character, but he's smart, a jack of all trades, and Alec Baldwin captures him to a tee. There's so much enjoyment I get out of this upon each viewing I'd be remiss if it wasn't on my list, and if there's one thing I believe about film review: be who you are. And I'm proud to say Hunt for Red October is one of my all time favorite movies.

Captivating from start to finish, John Mctiernan's action-adventure classic that is The Hunt for Red October is one of those movies that never ages, even upon multiple repeat viewings.

The Usual Suspects (1995)

THE USUAL SUSPECTS

DIRECTED BY: BRYAN SINGER
WRITTEN BY: CHRISTOPHER McQUARRIE
OVERALL SCORE: 10/10
TOP 100 FILMS: #55

After several criminals, and an informant, are killed in a boat explosion, Customs officer Dave Kujan (Chazz Palminteri) interrogates the only survivor, a cripple named Verbal King (Kevin Spacey). Verbal informs Dave of a collection of career criminals, lead by Dean Keaton (Gabriel Byrne), who get caught in the middle of an incident with a criminal overlord, Keyser Soze.

There's a certain mystique that goes along with some movies. As mystique's go The Usual Suspects probably has one of the all time granddaddies. Filled with a rather straight forward tale of a group of criminals and the tragic events that lead to their current situation, it's that mood set by Singer that makes The Usual Suspects work so heavily. The Usual Suspects lures you into a sense of narrative simplicity, then in a brief moment of narrative genius it forces you to question the reality of everything you've just seen. This moment has become such a powerful tool in the world of film, inspiring films such as Fight Club (which comes in at #50 on my list), that it has elevate beyond just a great cinematic moment.

What lets that moment work beyond any argument though is the acting. Grounded by a brilliant performance from Kevin Spacey, with solid acting from Stephen Baldwin, Gabriel Byrne, Pete Postleethwaite, Chazz Palminteri, Benicio Del Toro, and Kevin Pollack. Their ability to make the characters likable enough for us to care, but dark enough for us to fear keeps the viewer stuck to the screen throughout the run time. Concentrating only on this collection of anti-heroes, Singer is able to spend his time on the story spending only the basic necessary time on the character development. He's allowed to play to the character's strengths and weaknesses, really giving the audience a sense of connection with them.

Though of course without Spacey I'm not convinced this film would work. With great lines and execution, Spacey dominates every scene he's in, really giving a sort of kinder, more emotional side to this hard nosed film (such as "How do you shoot the devil in the back? What if you miss?" - a personal favorite line). Singer's steady hand behind the camera, never trying to do much, really amplifies the film's story, bringing out such performances, and keeping the film well paced. As movies go The Usual Suspects walks that thin line, and could have easily become a predictable mess, but Singer never allows this. Consistent, fluid, and just overall entertaining, The Usual Suspects is one of those truly impactful films.

An amazing film with solid narrative, acting, and an ending for the ages, I always enjoy this film, even after multiple viewings.