TOUCH OF EVIL

Continuing on the theme of classic Film Noir, here is a film which, for its time, pushed the boundaries of the Noir style to places that only Orson Welles would think of. Its setting is exotic and its characters break from the typical Noir formula, but "Touch of Evil" deserves a place among the most technically audacious, and effectively dazzling films not only within its own genre, but in all of film.

When "Touch of Evil" was brought to the screen by the legendary Orson Welles in 1958, cinema was nearing the end of the classical Film Noir period. While subject matter in popular film began to become more eclectic and color films became the norm, hard-boiled Film Noir of the 1940s and 1950s took a back seat. However, if one wishes to call "Touch of Evil" the "last classical Film Noir", then the style did not go quietly. Known for its daring camera work and telling angles, classical Noir was always visually far removed from the films of classic Hollywood. In "Touch of Evil", Welles and cinematographer Russell Metty achieve a lively, fluid, and unparalleled visual experience.

Welles' equally innovative "Citizen Kane" is often cited as a picture which played a great part in the inception of Film Noir. Therefore, it is fitting that, as a director, Welles mastered Noir itself, nearly 20 years after "Citizen Kane". "Touch of Evil" builds on the low and high angle shots of "Citizen Kane", used to establish power or to change a character's perceived stature. In scenes like the introduction of Welles' own police captain Hank Quinlan, a low angle is used to establish a position of dominance and a foreboding persona. Additionally, shadows are used extensively in the film to compliment the dark motives in the story, and swift, choppy editing brilliantly portrays paranoia and unrest in Janet Leigh's Susan Vargas. But, undoubtedly, the picture's most visually striking moments come in the long, tracking, unbroken shots which make their way through crowded streets and into and out of buildings. Upon my first viewing, the opening scene of the film, which tracks a doomed vehicle and the newlywed protagonists through a busy downtown area for over three minutes, quickly emerged as one of the most technically impressive things I have ever seen on a screen. In this moment, the camera feels alive, and the audience is made aware that seeing this film may actually be paramount to digesting this story. In "Touch of Evil" Orson Welles reminds viewers that he is something of a cinematic mastermind, and the first five to ten minutes alone are enough to convince us.

However, for all of its marvelous visual display, there is certainly room for gripes with this film. The casting of Charlton Heston in the role of Mexican Police Officer Mike Vargas is a well noted eyebrow-raiser in the history of film. As one of the picture's central characters, his acting is satisfactory, and we understand the need for star power in major studio films. But at certain moments, viewers may feel like justifying his presence in the role takes a great deal of suspending disbelief. The plot at the center of "Touch of Evil", involving Janet Leigh as a distressed, helpless newlywed and corrupt, border-town police work by Orson Welles' Hank Quinlan, can be a bit of a maze. Elements involving a crime syndicate, kidnappings, and dirty law enforcement become tangled in a way that leaves certain questions unanswered. However, the aforementioned artistic excellence of the film makes up for any weaknesses or dry moments in the story.

Famously, several of Welles' films which are now considered to be classics were not overwhelming financial or critical successes during the 20th century. While the theatrical, studio edited version of "Touch of Evil" was somewhat different from Welles' original vision, the film certainly falls into this list. Perhaps the reason for this is that Welles was simply too many years ahead of the cinematic world around him. Nonetheless, he is rightfully looked upon today as one of the giants of film history, and the artful breakthroughs of "Touch of Evil" are a key reason why.

RATING: 7.9/10

DOUBLE INDEMNITY

Billy Wilder's 1944 classic, "Double Indemnity", is considered by many to be the quintessence Film Noir. With its low-lit city setting and circularly structured narrative, it makes use of stylistic elements which are characteristic of the movement. I myself would have to think long and hard to decide between this film and "The Third Man" to decide which is truly the ultimate example of Noir, but nonetheless "Double Indemnity" gives viewers plenty of insight into why this style of filmmaking is one of the most beloved and replicated in the history of cinema.

To observe what is perhaps the strongest example of Noir style in the film, one needs only to look deeply into the picture's two major characters and the roles that they play in the conspiracy at hand. Fred MacMurray's Walter Neff is an archetypal Film Noir protagonist. From the moment viewers are introduced to him, he is conflicted, stressed, and clearly ill-equipped to handle whatever circumstances the film is yet to reveal to its audience. As Neff works through his detailed, outright confession in the form of an office memo to his employer Barton Keyes, the motives for his involvement in the elaborate murder of the wealthy Mr. Diethrichson are unveiled.  His statement, "I killed him for money, and a woman, and I didn't get the money and I didn't get the woman", reveals what is true of many male protagonists in Film Noir; the shallow temptations of greed and lust have led him to a complete moral crumbling. Neff is a prime example of the way many men of 1930s, 1940s, and 1950s were shown in films like these as easily manipulated and dishonestly motivated.

Equally important, in her last lines of dialogue, Phyllis Dietrichson divulges the reality of her character to Walter Neff, telling him, "No, I never loved you, Walter, not you or anybody else. I'm rotten to the heart. I used you just as you said. That's all you ever meant to me." Just as Neff is a prime example of men in Film Noir, Phyllis embodies the genre's classic "femme fatale" role. As beautiful as she is deceitful, it is her allure that leads to all of the sexual tensions and eventual irredeemable actions committed by the characters. Like many films of the 1940s and 1950s, she seems to warn viewers of an untrustworthy nature of beautiful women like her.

Even the supporting figures in the film are essentially stock characters which are often seen in Noir films. Barton Keyes is the familiar high-ranking, straight talking, cigar smoking businessman, and Lola Dietrichson is a young, naïve, out-of-element beauty. While we often see characters like these in older crime and mystery films, and truthfully none of the performances in "Double Indemnity" rank among history's greatest acting jobs, the way that these characters are presented seems to transport the audience to the old world for the 30's and 40's for the duration of the film.

While there are many beliefs about what spurred the Film Noir movement, such as the tensions of the Post-War world and increasing European influence in American culture during the time, "Double Indemnity" is more a study of character than anything else. Walter Neff and Phyllis Dietrichson are equally pathetic and equally subjugated by their respective temptations. Neither of the film's main characters is a hero, and as I see it, they are both bored, trapped individuals who turn to elaborate crime to spice up their daily lives. They treat the murder case as a sort of game, which often shrouds the fact that its a brutal, violent, psychopathic deed that they take part in. We are not meant to feel sorry for either of them.

Of course, being a seminal piece of Film Noir, the movie is riddled with smoky, low lit rooms, foreboding city jazz, and weighty, symbolic camera angles. Billy Wilder succeeds in combining these elements of undeniable filmmaking charm with a story nearly as fascinating as its visuals. It is a testament to the daring beauty of Film Noir and its pioneers that "Double Indemnity" remains a universally admired masterpiece.

RATING: 8.1/10

WIND RIVER

"Hell or High Water" was one of my absolute favorite films of 2016. The previous year's "Sicario" was a nearly universal success with critics as well as audiences. When stacked alongside 2017's "Wind River", these films make one thing absolutely certain: Taylor Sheridan is a quickly rising star in the film industry's new crop of talent. Primarily a writer prior to his most recent work, Sheridan seems to posses a flair for grit and action, but also a willingness and ability to make important social statements. With "Wind River", his feature film directing debut, Sheridan delivers a film which builds on the style and strengths of his previous works, while bringing complex, story-driving, heartfelt characters.

"Wind River" focuses on a part of American society which many people seem to forget about today. The Wind River Indian Reservation is shown to be a barren, troubled, somewhat hopeless part of the country. Locals throughout the film are quick to remind us that things like luck, help, and sympathy are hard to come by in the cold, bothered lands. Consequently, when Jane Banner, a naive and stubborn FBI agent, is called upon to investigate a rape and murder, she is largely ignorant to the customs and conventions of the reservation's native people. Jane relies on the assistance of Corey Lambert, a seasoned tracker for fish and wildlife services, who has strong ties and familiarity with the reservation's community, as well as personal motivations in solving the gruesome case. The film's leads are played beautifully by Elizabeth Olsen and Jeremy Renner. Olsen is effective as a strong-willed, confident character, but also delivers in vital situations of emotional release. Jane is often unprepared for the depth of the situations that she finds herself in, and Olsen allows for potent cathartic moments. Renner's character is rugged and hardened, qualities which we often see in the actor's roles. However, as the film progresses and details of Corey's past are revealed, this becomes one of the most emotional  performances that we have ever seen from Renner. And it is one of his best.

Sheridan directs the film to posses an atmosphere which greatly assists the story. Wide shots of vast snowy landscape enhance the important idea that when individuals are alone in the Wind River reservation, they are very, very alone. The often disturbing subject matter of the film is aided by an equally haunting setting, and a stringy, evocative score composed by Nick Cave and Warren Ellis. I appreciated the strategy which Sheridan employs to backtrack and show viewers exactly what happened on the night of the film's core tragic event, rather than reveal the happening entirely through the characters' investigation. This is a brutal scene which may be difficult to watch, but it emphasizes the weight of the surrounding circumstances. To further laud the job done here by Sheridan, it is refreshing to see a story which allows for such natural, sincere chemistry between two characters, without rounding it into an unnecessary romantic relationship. "Wind River" is ultimately an overwhelmingly impressive debut as being both a writer and director.

Upon the close of the film, we are provided with some staggering information involving the mistreatment of women in the American Indian community. Sheridan goes about making a societal stand in the way that filmmakers should. He gives us a very entertaining film, which has action, emotion, and likable characters, while also delivering a relevant message. In a similar manner to "Hell or High Water", "Wind River" presents vital social commentary which is valuable, yet understated and not too obviously flashed in the faces of its viewers. The film enthralls, entertains, and educates, doing all three beautifully.

RATING: 8.2/10

DUNKIRK

Christopher Nolan possesses a rare ability. He is consistently able to craft films which are sophisticated, profound, and frequently artful, while satisfying the needs of big Hollywood studios by producing lucrative blockbusters. But box office aside, I've found several of Nolan's films, namely "Inception", "Interstellar, and "The Dark Knight" to be massively impressive. While many movie purists argue that films of his tend to be overrated, and there is certainly grounds for those arguments, Nolan's deep involvement in every aspect of the moviemaking process is commendable. That said, I certainly shared the excitement of the film community about his latest output, "Dunkirk". Amidst the high amount of attention that each of his films is destined to receive, Nolan delivers with this gripping, unconventional story of war.

The historical events of the evacuation at Dunkirk, in which the British and French armies of World War II suffered massive casualties and hoped for miracles to assist their fleeing German attacks, do not lend themselves to a traditional war picture. From a practical, strategic standpoint, Dunkirk brought an overwhelming defeat for the British. This is not a war story which justifies the presence of the traditional hero in a film, or scenes of military officials conducting masterful plans. Instead of taking the traditional 'one side against the other' approach, Nolan crafts a characteristically circular, interweaving plot. He divides the narrative into three deeply personal perspectives of the story, including soldiers stranded on the beach, pilots confronting Germans in the air, and English citizens courageously leaving their homes to rescue soldiers. Each storyline creates its own sense of peril. With the beach soldiers, we often feel as if we are in the water fighting to stay afloat and gasping for air alongside them. In the air, a lack of fuel and support leaves pilots seconds away from plummeting into the ocean. The English civilians at sea, while heroically answering the call for assistance, are never safe in the unfamiliar environment of war. The sum of these parts makes "Dunkirk" often appear to be more a disaster film than a war film. It has a tangible presence of fear, achieved without explicitly telling viewers what to be afraid of. Just consider the fact that the audience never actually gets a solid look at a German soldier during the 127 runtime. The danger is in the atmosphere.

As he's done in the past, Nolan employs an ensemble cast which allows each division of the story to flaunt an array of acting talent. Familiar, established figures such as Tom Hardy, Mark Rylance, Kenneth Branagh, and Cillian Murphy are joined by relative newcomers like Fionn Whitehead, Barry Keoghan and Harry Styles. The group of actors successfully brings to life a lean, conservative script from Nolan. Dialogue is sparse throughout "Dunkirk", putting emphasis on the technical aspects and spectacle of the movie. And spectacle is where the film does not hold back. Nolan uses "props" such as genuine airplanes and warships and practical effects as much as possible. From a visual standpoint, "Dunkirk" is at a level of authenticity and grandeur that few war movies reach. I must also mention that this film struck me with sound in a way that few do. When overboard soldiers are fighting for their next breath, drowned out tones submerge us with them, and the roaring of spitfire fighter planes helps us to hear the chaos surrounding the characters. Nolan and frequent collaborator Hans Zimmer chose to include an omnipresent ticking which mixes in with an effectively ominous score to add suspense throughout the picture. As a comprehensive experience, "Dunkirk" is singularly stimulating.

The movie industry's fascination with the Second World War continues, and "Dunkirk" is a unique, worthy installment to the long list of acclaimed war films, as well as to Christopher Nolan's impressive track record. Though countless war movies have captured audiences over the years, the events at Dunkirk seem to have been underrepresented in film. Above all, this picture is important in that it shows the vital heroism of the community which makes the evacuation of Dunkirk such a heavy story in history. Though a tragic defeat from a military perspective, the evacuation represents a victory for our faith in the Everyman.

RATING: 8/10

TRAINSPOTTING

Danny Boyle's "Trainspotting" achieves an effect similar to one seen in Scorsese films like "The Wolf of Wall Street" and "Goodfellas". Through playful banter and humorous, raucous moments between friends, it has the ability to distract viewers from the truly tragic, often despicable lives of its characters. It's a film which is likely loved by a heroin junkie just as much as by your average, clean-cut, seasoned movie fan. With the release of a long-awaited sequel this year, it's easy to recognize the "classic" status that this movie has achieved since 1996.

"Trainspotting" is, at it simplest, a film about drug addicts. The drug use in the film is prevalent and graphic, and it often leads its characters into turbulent situations. There's no doubt that the films funny moments can be genuinely uproarious, such as the "worst toilet in Scotland" sequence. However, when taken as a whole, the movie does nothing to glorify the use of heroin, or the lifestyle of the characters. The foremost of those characters is Mark Renton, who's feeble attempts to overcome is drug habits are consistently thwarted by his friends and his city. While the film displays a sort of ensemble of troubled characters, Renton provides most of the film's perspective and commentary regarding the Edinburgh drug scene. Ewan McGregor is effective in what is widely considered his signature role. Before he was Obi-Wan Kenobi, this was the role with which he was most closely associated with, and amongst many moviegoers, this is still seen as his crowning work. Renton is a clearly troubled character, but he often seems somehow slightly better held together than some of his mates do, and from the very beginning of the film, he warns his audience not to choose to live the way he does.

It's ultimately quite a dark life that we observe the film's characters living. For every brief moment of comedic levity, there is an impending scene of helplessness and tragedy. Observing the group of main characters, I wonder if they are truly friends, or just individuals with whom they feel forced to share their disastrous reality. The film's outlandish nature has turned its characters into cult favorites, particularly the United Kingdom, but truthfully there is a desperate sense to Renton and his friends that make "Trainspotting" an effectively anti-drug film. Thankfully, I have never suffered from any sort of addiction, but sequences like Renton's vividly chaotic withdrawal scene while locked in his bedroom are exactly what I imagine such an addiction to be like. There is no question that the film is honest, and it's that honesty which should clearly lead viewers to want to "choose life" over a drug fueled existence. In his final monologue, following a shameless betrayal of his so called "friends", Renton himself admits "I'm a bad person". While he is not past the point of redemption, the film makes it clear that Renton is no model character.

This movie is one which leaves its audience unsure how to feel. It's an up and down experience; likely not dissimilar in that regard to a heroin habit. We laugh, we are disgusted and disturbed, and often totally drained while observing Renton's struggles. Its dark comedic elements weave through its occasionally depressing character study to produce an irresistible blend of the provocative and the purely entertaining.

RATING: 8/10

ROOM

The story of "Room" becomes increasingly unsettling the more one thinks about the fact that things like this have actually happened to people. On its broadest scale, the film is a story of juvenile kidnap, rape, and endless abuse; subjects which could easily yield a nightmare of a film. Miraculously however, the affecting performances and touching relationship at the heart of "Room" overshadow the elements of brutality and deliver a film which is moving and often heartwarming.

Brie Larson plays the role of Joy (or Ma, depending on who you ask), a young woman who was captured during her teens and, for years, has been held captive. Jack, the son born to Joy several years into her agony as a sexual slave, is raised knowing nothing of life outside the confines of the small shed inhabited by the characters. To Jack, what lies beyond the walls of the small room shared by he and his mother is known as "outer space", and things like animals and regular fixtures of comfort in our daily lives only exist in the fantastical world of television. Though what she and her son face are nothing short of horrific, Joy places Jack at the center of her existence, and does an honorable job of maintaining hope and providing her son with the closest thing to a normal life that she can manage.

The effectiveness of Larson's lead performance is no secret, as it earned her plenty of high profile awards and critical praise. She succeeds in bringing the subtle suffering and reflective depth that is pivotal to her tortured character. Amongst her most powerful moments in the film are the sudden cathartic episodes which her character experiences when her son is not around. As the collected façade falls, Joy allows herself to display the anguish which we expect from someone in her situation, and Larson delivers in these moments. The role of Jack also turned young Jacob Tremblay into the darling of the 2016 movie awards season. Any time a film as intense as this one relies so heavily on the skill of a child actor, moviegoers and filmmakers alike do not know what to expect, but Tremblay's combination of cheerful naivety and subdued emotion acts as a light of innocence at the heart of the film.

This movie does something very well which is impetrative to great films: it makes you care deeply about its characters. The scene in which Jack attempts his escape from the back of his captors pickup truck brought me stronger feelings of suspense than any horror film or thriller which I have seen recently. This is achieved by building a deep connection between the young boy and the audience as we have see the struggle involved in his childhood, recognize his opportunity to be free, and ask ourselves what will happen if he fails. Jack and Joy's escape from their confinement is the riveting turning point of the film, but this moment and the events that follow it would not matter nearly as much if viewers had not witnessed the meticulously displayed struggle at the opening of the film. Even as the characters attempt to assimilate with the largely unfamiliar outside world, they often rely on each other to maintain healthy spirits. It's the everyday moments shown between the protagonists which are the most poignant and memorable.

The fictional story of "Room", based on a novel by author and screenwriter Emma Donoghue, is almost eerily prophetic of the Ariel Castro kidnapping case of 2013. These events saw the discovery and escape of three young women, one with a child born in captivity, who were held in very similar circumstances to that of Joy. As I stated earlier, approaching this film with the knowledge that sickening things like these really happen in our world brings a powerful emotional rise out of viewers. But for all the cruelty which surrounds the story of Jack and Joy, this is, above all, an inspiring story about the power of love, the strength of companionship, and the importance of mothers. "Room" is one of the best movies of the decade so far, and it possesses the power to stimulate emotions as strongly as a film can.

RATING:  8.6/10

BLADE RUNNER

With the growing hype around the upcoming sequel to this Ridley Scott cult classic, I recently felt the itch for a viewing, and review, of the original "Blade Runner". Regarded by many as one of the great Sci-Fi films of all time, the movie set trends which have been imitated constantly since its release in 1982. A largely bleak view of an American future, the film explores the nature, and often hypocrisy, of how we view humanity. Specifically, I will focus on the conclusive "Final Cut" version of the film, which critics, many fans, and Scott himself often tout as the definitive rendering. Any further commentary on the lame original voice-over would be beating a dead replicant.

Harrison Ford stars Rick Deckard, a Blade Runner (some sort of cross between a detective and an assassin) in 2019 Los Angeles. The character reluctantly agrees to track down and eradicate a group of roguish replicants, who have been bioengineered by a major corporation to essentially act as slaves and perform any undesirable task that humans wish. Deckard's search for the missing replicants proves to become increasingly perilous, as his adversaries develop emotions, skills, and intelligence which is beyond what they were programmed for. It is only because of an extremely human deed performed by one of his non-human enemies that Deckard makes it out of his mission alive.

I see Deckard as easily the most complex of any of Harrison Ford's classic film heroes. In fact, the term "hero" seems rather unfitting in itself. The character is a heavy-drinking, unsympathetic loner who seems to avoid contact with others whenever he can. Not to mention the uncomfortable love scenes in the film, which have aged as nothing less than blatant sexual assault. Of course, anyone who is even a casual fan of the film is aware of the ongoing debate over whether or not Deckard himself is a replicant, implanted with memories of a valiant past as a Blade Runner. Ridley Scott has hinted toward this idea in the past, while Ford has contended that Deckard is a necessary human presence in the story. Personally, I find the story to have much more meaning if Deckard is in fact a human. With this notion, his final encounter with Roy Batty (Rutger Hauer), essentially the leader of the hunted replicants, reveals the true underlying theme of the movie: the replicants truly are "more human than human". When Batty saves Deckard from falling off the rooftop and delivers his classic monologue about the meaningful memories which he has made, he exhibits qualities which the humans of "Blade Runner"'s future seem to have left in the past. Now, trailers and images of the upcoming "Blade Runner 2049" have surfaced, and it is clear that Ford will be reprising his character. Barring some potential loop in the science of the first film, its safe to assume that Deckard did not have the limited lifespan of most of the replicants. Nonetheless, "Blade Runner" is a film without a true hero versus villain dynamic. Batty is the character who we are led to see as evil and threatening, but at the conclusion, we sympathize with him more than anyone.

One thing is certain; the future depicted in "Blade Runner" is a fascinating one. Things that have become Sci-Fi staples, such as the enormous digital advertisements and flying cars, were made possible by special effects which were groundbreaking at the time. But to me, the most interesting aspects of Ridley Scott's 2019 Los Angeles go much deeper. The film shows a culture in the city which has experienced great influence from foreign cultures, specifically from Asia. In many ways, this projection has come true in the West coast cities of today. The setting of the film also includes many effective dystopian urban elements, such as the dark, smoky atmosphere and overly industrialized and overpopulated living spaces. For evidence of this setting's influence on its genre, look no further than the city planet of Coruscant in George Lucas' "Star Wars" prequels. What makes the city so effective in this case is the style with which Scott approached his filming. The shadowy streets, neon signs, and constant rainfall sends an essence of classic film noir through this foreboding scientific story.

As an example of unprecedented, influential style in filmmaking, "Blade Runner" may be as important as movies get. The film simply feels far different from anything that came before it. It's undoubtedly one of the most unique movies of all time. However, I must admit that I don't personally love it as much as many other movie fans do. This is possibly because I was not around to experience the "wow" factor of seeing it in the early 1980's, and we are so flooded with Sci-Fi in movies today. But, it's influence and originality are indisputable, and with the amount of material it gives for theories and analysis, I can fully appreciate its cult classic status.

RATING: 7.5/10