Release Date: June 25th, 1975 Directed by: Norman Jewison Written by: William Harrison Based on:Roller Ball Murder by William Harrison Music by: Andre Previn Cast: James Caan, John Houseman, Maud Adams, John Beck, Moses Gunn, Ralph Richardson
United Artists, 129 Minutes
“The game was created to demonstrate the futility of individual effort.” – Bartholomew
Rollerball was remade in 2002 for some reason. Never, ever watch that version. Watch this one. This one is the only version that matters and even though it feels like a typical ’70s retro future picture, it still has more style, spirit and heart than that soulless recreation. Plus, this one stars James Caan and not Chris Klein, that really nice and sensitive guy from the American Pie movies.
I’m a big fan of the ’70s version of what our future was supposed to be. Because of that, I love the look and vibe of this film. It shows a bleak and gritty future ruled by corporations. It has an almost post apocalyptic vibe with a strong ’70s aesthetic. In a lot of ways, this film really works well being paired with Death Race 2000 due to its themes and visual style. Although, it isn’t as fun or as brilliant as Death Race.
James Caan plays Jonathan E. It sounds like a ’90s R&B singer or a character from a Tommy Wiseau movie but he is the world’s most badass rollerballer. His life is controlled by the corporation that owns his team and runs the government. He’s told to retire and he doesn’t want to. So Jonathan E. decides to fight back and figure out who makes these decisions and why.
The film’s story has an interesting premise but it really doesn’t have much else. The narrative is pretty boring, generic and dry. There isn’t a lot of excitement in the film’s plot and this would be a completely forgotten film if it weren’t for the sport element.
The rollerball matches are the highlight of the film. The sport is an interesting concept, as it takes the core of roller derby and ups the ante in every way. It even adds in motorcycles. There are three of these matches in the film and they’re the parts I love where the rest of the film just sort of gets in the way. However, I guess you need a plot to have a reason to have the movie. The plot just doesn’t measure up.
James Caan was convincing and did well with the material. But even he couldn’t salvage the uninteresting filler.
Rating: 6.75/10 Pairs well with:Death Race 2000, Logan’s Run, Silent Running, The Warriors.
Release Date: February 21st, 1996 Directed by: Wes Anderson Written by: Owen Wilson, Wes Anderson Music by: Mark Mothersbaugh Cast: Luke Wilson, Owen Wilson, Robert Musgrave, James Caan, Andrew Wilson, Lumi Cavazos, Donny Caicedo, Jim Ponds, Tak Kubota, Kumar Pallana
Gracie Films, Columbia Pictures, 91 Minutes
“Here are just a few of the key ingredients: dynamite, pole vaulting, laughing gas, choppers – can you see how incredible this is going to be? – hang gliding, come on!” – Dignan
A commercial failure upon release, Bottle Rocket would go on to wow a lot of the top critics and still became a launching pad for the careers of Wes Anderson and the Wilson brothers.
While not my favorite Anderson picture, I still love Bottle Rocket and the fact that it shows that Anderson wit and style yet is still pretty straightforward and not as stylized as his films would become after this one, starting with 1998’s Rushmore. Bottle Rocket feels like a Wes Anderson movie in spirit and substance but greatly differs in how it feels more grounded in reality.
At its core, this is a comedic heist picture. While that is a major plot point, the film is more about relationships and self discovery. While you get the feeling that this trio of bandits are going to fail miserably with the big heist, you can’t not be taken in by Owen Wilson’s goofy plan and charisma. His antics are hilarious and his schemes are even more amusing. The carelessness of how he handles his business and openly talks about his schemes in public make you wonder how these guys didn’t get arrested before the big job. But it all just adds to the brilliant absurdity of this entertaining movie.
The vast majority of the film was shot around Hillsboro, Texas – a small town midway between Dallas and Waco. The landscapes and environment have a really simplistic yet majestic feel to them. All the outdoor bits are shot really well and it is a real contrast to Anderson’s work after this picture, where he shoots a lot within the confines of very opulent and stylized interiors.
This is a 90s indie comedy of the best kind. It feels very indie and very 90s but still has an original appeal that very much makes it its own thing. Both Wilson’s are great, as is their buddy Bob, played by Robert Musgrave, a guy who should be in more movies. He pairs well with the Wilsons and matches their comedic timing and delivery quite well.
Bottle Rocket is a fun and amusing picture. It has a visual allure and is kind of sweet. It is a hard film not to like.
Release Date: June 15th, 1990 Directed by: Warren Beatty Written by: Jim Cash, Jack Epps Jr. Based on:Dick Tracy created by Chester Gould Music by: Danny Elfman Cast: Warren Beatty, Al Pacino, Madonna, Glenne Headly, Charlie Korsmo, James Keane, Seymour Cassel, Michael J. Pollard, Charles Durning, Dick Van Dyke, Frank Campanella, Kathy Bates, Dustin Hoffman, William Forsythe, Ed O’Ross, James Tolkan, Mandy Patinkin, R. G. Armstrong, Henry Silva, Paul Sorvino, James Caan, Catherine O’Hara, Estelle Parsons, Mary Woronov, Marshall Bell, Robert Costanzo
Touchstone Pictures, Silver Screen Partners IV, Mulholland Productions, Walt Disney, Buena Vista Pictures, 105 Minutes
“You get behind me, we all profit; you challenge me, we all go down! There was one Napoleon, one Washington, one me!” – Big Boy Caprice
I guess, from a critical standpoint, this film didn’t get the sort of respect that it should have. I’m not really sure why or how it didn’t resonate with some critics but Roger Ebert adored it, as do I.
In fact, Dick Tracy is almost a perfect film for what it is and I’m not sure what else anyone would want from this near masterpiece. Warren Beatty directed and starred in this and he gave us something magical and marvelous. It fit the classic comic strip to a t and truly breathed live action life into it. As great as the comic strip was, I feel like this film is an improvement on the story, the characters and the ideas of Chester Gould’s beloved creation.
Unfortunately, this great launching pad for what should have been a franchise, never got to have a sequel due to copyright disputes between Warren Beatty and Tribune Media Services. The courts eventually settled in favor of Beatty but that wasn’t until 2011. He has since talked of a sequel but there hasn’t been much movement and so much time has passed. Also, Disney had hoped that this would achieve 1989 Batman numbers but it didn’t hit that mark, even though it was financially successful.
And at least this film has its fans and, at the time of its release, the public supported the picture. Some of this could be due to the film’s immense star power, boasting a cast of superstars, or because of the awesome marketing campaign this film had – one of the best of all-time, in my opinion. Especially, the tie-in stuff they did with McDonald’s. Plus, there was that great Batman picture the previous year, which finally proved that comic book movies could be something that can be taken seriously.
The film has held up tremendously well and may actually be more visually alluring today. The use of vibrant giallo-like colors and tremendous matte paintings gave the film a real pulp comic feel that felt lived in and lively. Today, the picture truly feels like a work of art and has a visual uniqueness that stands on its own.
The picture was also enhanced by the incredible score by Danny Elfman. This is one of the greatest scores of Elfman’s long career and is very reminiscent of his work on Batman, the previous year, and 1990’s short lived The Flash television show. The score is powerful and blends well with the old timey tunes and the performances by Madonna.
Being a poppy 1930s style gangster story, Beatty tapped the Bonnie and Clyde well and cast Estelle Parsons and Michael J. Pollard in small roles. The film was only missing Faye Dunaway and Gene Hackman in reuniting the gang from that classic 1967 film.
Beatty was a fantastic lead and perfect Dick Tracy. Additionally, the rest of the cast was magnificent. Al Pacino got to be a hammy mob boss and foil to Tracy. Pacino’s Big Boy Caprice is also one of my favorite Pacino characters ever put to celluloid. Both Madonna and Glenne Headly are stellar as the leading ladies and this is just one of many roles where I became a huge fan of Headly.
The cast is rounded out by so many other great actors in smaller roles. Dick Van Dyke plays a crooked mayoral candidate, Dustin Hoffman plays the gangster Mumbles and R. G. Armstrong is the sinister mob boss Pruneface. You’ve also got cameos by James Caan, Catherine O’Hara, Kathy Bates and Paul Sorvino. William Forsythe and Ed O’Ross play Big Boy’s top henchmen Flattop and Itchy. You also have the always great Seymour Cassel as one of Tracy’s cop buddies. Plus, Charlie Korsmo was cool as The Kid.
Dick Tracy is action packed and stylish but it doesn’t put that style over its substance. The narrative works, the plot moves swiftly and there is never a dull moment. Plus, who the hell doesn’t love Tommy gun shootouts in the street?
It is also worth mentioning that the character of The Blank is one of the coolest film characters to come out of this era, even if used sparingly and in the dark. Had this gone on to be a film series, it would’ve been cool seeing someone else take up that mantle or The Blank living on in some way. The character also added an interesting twist to a film that, on its surface, looks like just a straight up cops and gangsters, good versus evil, cookie cutter type scenario. The Blank added a third, unpredictable element and a noir vibe.
Dick Tracy is one of the greatest summer blockbusters ever made and it deserves more recognition today than it receives. It took some creative risks that paid off and it brought together a literal who’s who of great bad ass actors.
My initial viewing of this motion picture on the big screen is one of my fondest childhood memories. It stands alongside Batman, 1990’s Teenage Mutant Ninja Turtles, the original animated Transformers movie and Star Trek IV: The Voyage Home as one of my favorite theatrical experiences of my early life.
Release Date: December 12th, 1974 (New York City premiere) Directed by: Francis Ford Coppola Written by: Mario Puzo, Francis Ford Coppola Based on:The Godfather by Mario Puzo Music by: Nino Rota Cast: Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Marianna Hill, Lee Strasberg, Bruno Kirby, Joe Spinell, G.D. Spradlin, Frank Civero, Roman Coppola, Danny Aiello, Harry Dean Stanton, James Caan, Abe Vigoda, Richard Bright, Dominic Chianese, Connie Mason (uncredited)
The Coppola Company, Paramount Pictures, 200 Minutes
It is hard saying which is the better movie between The Godfather and The Godfather, Part II. For me, both of them are as close to perfect as a movie can get. I like Part II the most overall but I like that Part I isn’t broken up by a nonlinear plot and feels more cohesive. I also like the ensemble of the first movie better. That is actually magnified when you get to the end of Part II and see a flashback dinner scene of all the men in the family, excluding Marlon Brando’s Vito. After spending almost seven hours with this family, up to this point, they always seem to be at their best and their most dynamic when all the men are present.
Everything positive I said about the first film still holds true in the second. The acting, direction, cinematography, costumes, art and design are all absolutely top notch.
However, this chapter in the saga takes things to a new level. The world that the Corleone family lives in is even bigger and more opulent. The section of the film that sees Michael go to Cuba is mesmerizing. It adds an extra bit of grit to the picture, not that it needed anymore than it already had.
The highlight of this film is Robert De Niro’s portrayal of the younger Vito Corleone. He took a role that was very much Brando’s and made it his own without stepping on the toes of his elder. It was definitely a performance that deserved the Oscar De Niro got for it. It is also the only time two different actors have won an Oscar for playing the same character.
The film also contrasts the first movie in that you see the Corleone empire being run in different ways. While the family business is the bottom line, Michael goes further than his father in what he’s willing to do to keep the empire running. Michael went from a young man who didn’t want his family to define his legacy, in the first film, to a man that goes to extremes to keep the family together while he is battling the conflict within himself.
Godfather, Part II is a more dynamic and layered story overall and it is well-executed. While I mentioned preferring the linear plot to Part I, the plot is still managed perfectly. The scenes of Michael and then the flashbacks of Vito go hand-in-hand and they reflect off of each other, showing that despite the differences in the father and son characters, that they still travel the same path in a lot of ways.
In reality, The Godfather and The Godfather, Part II just feel like one really long movie that had to be broken into two parts. And the place where they decided to break them, at the end of the first movie, was the best spot. It flawlessly separates the legacies of the two men, out for the same thing but in very different ways.
Release Date: March 15th, 1972 (Loew’s State Theatre premiere) Directed by: Francis Ford Coppola Written by: Mario Puzo, Francis Ford Coppola Based on:The Godfather by Mario Puzo Music by: Nino Rota Cast: Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte, Diane Keaton, Talia Shire, Abe Vigoda, Alex Rocco, Joe Spinell, Sofia Coppola, Richard Bright, John Cazale
I had a great experience, as I finally got to see The Godfather on the big screen. Like my recent experience of seeing Aliens in the theater, movies just take on a different life when seen in their intended format, much larger and in a dark movie house with other filmgoers there for the love of the picture.
I’ve mentioned before that it is hard to review a masterpiece and this is really no different. In fact, The Godfather goes beyond that. It is a film truly devoid of any real flaws.
I don’t need to talk about the great story and the great acting or how Francis Ford Coppola was at the top of his game – everyone already knows that. The music is perfect, the cinematography is absolutely pristine and tonally, everything is pure magic. I mean, this is a film that has a 9.2 on IMDb. Only one other picture in the entirety of film history is rated higher and that is The Shawshank Redemption.
The Godfather‘s real appeal is that it truly feels timeless. It takes place in the 1940s but was made in the 1970s, yet none of that matters. The world within the film, even now, feels true to itself and incredibly authentic. The Godfather has a certain realism to it missing from most other films, especially the mafia crime genre. It doesn’t feel like Hollywood at all, it feels like you are really a fly on the wall in this family’s home. Even Goodfellas, as great as it is, doesn’t come close to the authenticity of The Godfather.
The film is long, at almost three hours. That is usually a bone of contention with me, but everything in the film feels necessary. Where I feel that certain filmmakers make really long epics in an effort to somehow legitimize their films as something epic and great, The Godfather is one of the few that deserves as much time as it needs. Here, the time is truly needed. At the other end of the spectrum, 2005’s King Kong didn’t need three hours, let alone the extra twenty minutes that brought it to a whopping 200 minutes.
The running time, makes The Godfather feel more like a lengthy miniseries, especially taking into account its sequel, which was even longer. However, it deserves to be seen in the theater. In fact, that is where it should be seen. Not on a small screen where it has existed for the entire duration of my lifetime. I really hope the sequel gets re-released theatrically in the very near future. Hell, I’d even see The Godfather: Part III just to complete the saga on the big screen.
If you have the opportunity to see this in the theater, you need to. And if you’ve never seen the film, you really owe it to yourself to experience it.