Film Review: Barry Lyndon (1975)

Release Date: December 11th, 1975 (London premiere)
Directed by: Stanley Kubrick
Written by: Stanley Kubrick
Based on: The Luck of Barry Lyndon by William Makepeace Thackeray
Music by: Leonard Rosenman, Ralph Ferraro (uncredited)
Cast: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Kruger, Diana Koerner, Gay Hamilton, Steven Berkoff, Andre Morell, Anthony Sharp, Philip Stone, Pat Roach

Peregrine, Hawk Films, Warner Bros., 185 Minutes

Review:

“Well then, look you now… from this moment, I will submit to no further chastisement from you. I will kill you, if you lay hands on me ever again! Is that entirely clear to you, sir?” – Lord Bullingdon

This is the only Stanley Kubrick film I had never seen, apart from his early documentary work. I always wanted to see this but I was intimidated by its length and usually, once I start thinking about Kubrick, I tend to go back to watching one of my three favorite films by him: 2001: A Space Odyssey, A Clockwork Orange or The Shining. I often times mix in Dr. Strangelove and Eyes Wide Shut, as well.

I thought that I needed to see this, greatly, and that not having seen it already was a bit of a crime against myself, as I consider Kubrick to be one of the three men in my personal Holy Trinity of Directors. I do think I need to expand that to a Mount Rushmore of Directors, though, as there are really four at the highest level of craftsmanship that I always go back to, again and again. However, this isn’t about that.

This is a long, epic film but man, it’s pretty exceptional.

While I found it slow in parts and there were chapters in the story that weren’t as interesting as the best bits, I really enjoyed this and thought that if it were ever remade, it should definitely be expanded into a limited television series, as there’s just so much story. I have never read the book, though, so I’m not sure how much of it this film actually covered.

Still, this shows the entirety of a man’s adult life where he initially starts out as pretty likable but then slowly dissolves into a real piece of shit. The picture does a great job of showing you all the major events and turning points in his life, however, and it builds towards something quite incredible.

As should be expected, the cinematography is magnificent, as is the acting and the use of music.

In regards to the film’s score, Kubrick went a similar route to what he did with A Clockwork Orange in that he uses many classical masterpieces but often times uses distorted versions of them, which give off their own unique feel that does more for the tone of specific scenes than the visuals and the acting. If you’ve never seen this but are familiar with A Clockwork Orange, you probably know what I’m talking about. However, his use of altered classical works is more limited here and less noticeable, initially.

There is one character in this that you do grow to care about, as Barry Lyndon devolves into a pure prick, and that’s his stepson. Their hatred for each other climaxes in an old fashioned duel. It’s a fucking tragic scene where you can’t guess what’s going to happen and every single frame of film adds to the building tension in a way that I haven’t felt in a film in a really long time. It’s actually a breathtaking sequence that’s impossible to look away from.

They really don’t make movies like this anymore and honestly, it truly makes me appreciate this near masterpiece that much more.

Barry Lyndon is as great as I had always hoped it would be.

Rating: 9.75/10
Pairs well with: other Stanley Kubrick films, as well as other epic, fictional biographical movies.

Film Review: A Clockwork Orange (1971)

Release Date: December 19th, 1971 (New York City premiere)
Directed by: Stanley Kubrick
Written by: Stanley Kubrick
Based on: A Clockwork Orange by Anthony Burgess
Music by: Wendy Carlos
Cast: Malcolm McDowell, Patrick Magee, Adrienne Corri, Miriam Karlin, Michael Bates, Warren Clark, Clive Francis, Michael Gover, James Marcus, Aubrey Morris, Godfrey Quigley, Sheila Raynor, Philip Stone, Madge Ryan, Anthony Sharp, Michael Tarn, David Prowse, Steven Berkoff

Polaris Productions, Hawk Films, Warner Bros., 136 Minutes

Review:

“It’s funny how the colors of the real world only seem really real when you viddy them on the screen.” – Alex

As of this review, Stanley Kubrick is the one director that I have awarded four 10 out of 10 ratings to. He is my favorite director of all-time, as he’s just able to captivate me like no one else. Granted, Orson Welles, Sergio Leone and Akira Kurosawa are pretty damn close too and I often times debate which director truly takes the cake but I always come back to Kubrick. But hey, at least I know who’s on my Mount Rushmore of film directors.

Similar to my mental debate over directors, I often times ponder which of Kubrick’s films between this one, 2001 and The Shining are my favorite. The answer is usually the most recent one that I’ve watched but it seems like A Clockwork Orange tends to rise to the top more often than the other two.

While all three films are masterpieces, as is Kubrick’s Dr. Strangelove, this one seems to resonate with me the most.

This may be the most perfectly cast film from top-to-bottom, as there isn’t a single person, regardless of the size of their role, that hinders this film in any way. Additionally, every actor feels exactly as they should and despite recognizing many faces, you still get lost in the film and aren’t necessarily distracted by who’s in it.

As fantastical as this film’s world may seem, you are still drawn into it’s gritty, harsh realness while also admiring its surreal and sometimes opulent environment. It’s a film with a lot of visual and narrative contrast but in both regards these things feel like perfect marriages and perfectly balanced.

Beyond that, this is, by far, one of the most mesmerizing and impressive films ever shot. Kubrick uses a lot of his stylistic tropes to great effect. 

Furthermore, out of all the novels and stories that Kubrick has adapted, this one is the closest to its source material. In fact, nothing has really changed and there are just a few things omitted, probably due to running time and also because Kubrick was given the American version of the novel, which, at the time, was missing the book’s epilogue.

Comparing the book to the movie, I like both just about equally. However, for the film, I feel that the ending is perfect and that the epilogue might have taken some of the cinematic magic away, as it would have made the film’s climax less open for interpretation. For fans of this picture, I would most definitely suggest that you read the original Anthony Burgess novel if you haven’t already.

A Clockwork Orange is a terrifying, emotional and amusing film. It’s also perfect, as far as I’m concerned. They don’t make movies like this anymore and they probably never will with how the film industry has evolved, especially as of late.

Stanley Kubrick was a fucking legend. This is just one of several motion pictures that cements that.

Rating: 10/10
Pairs well with: Stanley Kubrick’s other films and other great movies that feature a sort of dystopian, bleak future.

Film Review: Beverly Hills Cop (1984)

Also known as: Beverly Drive (script title)
Release Date: December 1st, 1984 (Los Angeles premiere)
Directed by: Martin Brest
Written by: Daniel Petrie Jr., Danilo Bach
Music by: Harold Faltermeyer
Cast: Eddie Murphy, Judge Reinhold, John Ashton, Lisa Elbacher, Ronny Cox, Steven Berkoff, James Russo, Stephen Elliot, Paul Reiser, Jonathan Banks, Gilbert R. Hill, Bronson Pinchot, Damon Wayans

Eddie Murphy Productions, Don Simpson/Jerry Bruckheimer Films, Paramount Pictures, 105 Minutes

Review:

“This is the cleanest and nicest police car I’ve ever been in in my life. This thing’s nicer than my apartment.” – Axel Foley

There weren’t a lot of characters cooler than Axel Foley back when I was a kid in the ’80s. Because of that, this and the second film, were always in constant rotation in my VCR.

I’ve seen this dozens of times but it’s been quite awhile since I saw it last. Having just come off of revisiting and reviewing all the Lethal Weapon films, I wanted to go back and get reacquainted with this trilogy, as well as the two 48 Hours movies. Reviews for all these Eddie Murphy action comedies will be up over the next few weeks.

Anyway, this movie holds up well and its still pretty enjoyable.

Eddie Murphy is at his absolute best in this and the film really shows how much of a star he was in his prime. About midway through the ’90s, he started to fall off and lose his touch but I’d say that’s more about the roles he chose over his talent because Beverly Hills Cop makes it pretty clear that the guy is stellar with perfect comedic timing, unlimited charm and the ability to have to be serious when the moment calls for it. This film showcases all of his strengths quite well and it is still my favorite Murphy movie.

Adding to his awesome performance is the rest of the cast, all of whom are also solid in this. I especially like Judge Reinhold, who, unfortunately, also fell off after the ’80s. Here, he is able to play the lovable and inexperienced straightman to Murphy’s fun antics. Although, Reinhold does get in on the fun too and frankly, Murphy and Reinhold have great chemistry and it’s that chemistry that makes these movies so good.

John Ashton and Ronny Cox are perfect in their roles and with Cox, it’s really great seeing him play an honest good guy because he’s such a great asshole when he wants to be. I love this version of Ronny Cox even though his performance as Dick Jones in RoboCop gave us one of the best movie villains of the ’80s.

The picture also benefits from an incredible ’80s pop soundtrack, as well as one of the best instrumental scores of its era.

This is action packed, hilarious, doesn’t take itself too seriously but delivers in everything it set out to do.

Overall, this movie is just a lot of fun and it should brighten any bad day because Murphy, at his absolute best, is amusing, entertaining, exciting and a real pleasure to watch. And this is, certainly, one of his best.

Rating: 9/10
Pairs well with: the other Beverly Hills Cop movies, as well as the 48 Hours and Lethal Weapon films.

Film Review: Rambo: First Blood Part II (1985)

Also known as: Rambo II (unofficial title), Rambo (shortened title)
Release Date: May 22nd, 1985
Directed by: George P. Cosmatos
Written by: Sylvester Stallone, James Cameron, Kevin Jarre
Based on: characters by David Morrell
Music by: Jerry Goldsmith
Cast: Sylvester Stallone, Richard Crenna, Charles Napier, Steven Berkoff, Julia Nickson, Martin Kove, George Cheung, Voyo Goric, Jeff Imada (uncredited)

Estudios Churubusco Azteca S.A., Anabasis N.V., TriStar Pictures, 96 Minutes

Review:

“Pressure? Let me just say that Rambo is the best combat vet I’ve ever seen. A pure fighting machine with only a desire to win a war that someone else lost. And if winning means he has to die, he’ll die. No fear, no regrets. And one more thing: what you choose to call hell, he calls home.” – Trautman

The first Rambo movie, First Blood, is and will always be the best of the Rambo films. Frankly, it’s really hard to top but this one does comes pretty close while being a very different kind of movie.

At their core, both films are action flicks with a one man army fighting for survival against man, the wild and every other dangerous thing that arises.

However, the first picture was more about making a statement regarding the treatment of Vietnam veterans returning from war to a home that didn’t want them while this film was much more about balls out action and fun.

That’s not to say that this chapter in the franchise doesn’t have a message, it does. It sees John Rambo return to Vietnam in an effort to rescue some of the P.O.W.s that were left behind by their own government. The film critiques the U.S. government’s handling of the P.O.W. situation and shows that the government wasn’t actually too keen on getting them out. Rambo is essentially set up to fail but he blasts his way through the dangerous jungle, falls in love, loses love, rescues some soldiers, kills several evil men and then exposes his own government for spitting in the faces of the men that lost their lives and sanity for a government that abandoned them.

There are actually a lot of similarities between this movie and Chuck Norris’ Missing In Action film series. As much as I love those movies, this just feels like a better, more polished version of what those movies were. That being said, Missing In Action was actually rushed out and released in 1984 to avoid a lawsuit, as it was based off of a story treatment that James Cameron wrote for this film.

Out of all the Rambo films, this one features my favorite cast. Alongside Stallone, Crenna gets a bigger role here and then you’ve got the great Martin Kove, who I wish had a bit more screen time, Charles Napier, Steven Berkoff and Julia Nickson, who I will always remember most for her part in this film and how it inspired and gave hope to John Rambo that there could be life beyond war. Additionally, Voyo Goric is in this and while his name might not be known to most people, he was in several action flicks of the time and always played a good, intimidating and convincing heavy.

As an adult, I know and recognize that First Blood is better. However, as a kid, this was my Rambo film, as it was so over the top and action heavy that it made my young mind explode with excitement and wonder. It felt like a G.I. Joe character come to life and it was just violent and cool in a way that makes it a near perfect ’80s action picture. It feels like a Cannon Films movie with a bigger budget and a bigger star. Granted, it could’ve used a few ninjas.

One thing that makes this picture work so well is the pacing. For example, I love Rambo III but it isn’t as good as this one because it has a slow pace that hinders it. I’ll talk about that more when I review it. The pacing here though is perfect, the film keeps moving forward, a lot happens but you don’t get stuck in a spot of fixated on some plot point. Rambo blasts or punches something just about every five minutes.

Some may accuse this of being a mindless action movie, it’s not. It has a message and a point to make but it also doesn’t let that message get in the way of what’s most important: action, muscles, bullets, explosions and heavy machinery.

Rating: 8.25/10
Pairs well with: the other Rambo movies, as well as other ’80s and early ’90s Stallone movies.

Film Review: Octopussy (1983)

Release Date: June 6th, 1983 (London premiere)
Directed by: John Glen
Written by: George MacDonald Fraser, Michael G. Wilson, Richard Maibaum
Based on: the James Bond novels by Ian Fleming
Music by: John Barry
Cast: Roger Moore, Maud Adams, Louis Jourdan, Kristina Wayborn, Kabir Bedi, Steven Berkoff, Desmond Llewelyn, Lois Maxwell, Robert Brown

Eon Productions, United Artists, 131 Minutes

Review:

“You must be joking! 007 on an island populated exclusively by women? We won’t see him till dawn!” – Q

This is a James Bond film that I hadn’t watched for several years. While I love Roger Moore, his era was the cheesiest of the Bond franchise. I’ve never held most of his films in the same regard as I do Connery’s or Dalton’s or the one that Lazenby was in. However, Octopussy, while cheesy, is still a pretty good chapter in the franchise. And like other Moore Bond movies that I’ve revisited recently, it’s better than I remembered.

A lot of this film takes place in India, which is really cool. The series has gone to different parts of Asia but the Indian element enhanced the film. Also, the country felt like a character in this movie. There are a lot of cultural jabs, however, which may seem weird and cringy in modern times, where we live in an overly politically correct society, but it’s not anymore offensive than Indiana Jones and the Temple of Doom. But the beauty of the environment and the architecture really gave this film a cool visual aesthetic.

Speaking of which, I absolutely love the set design in this picture. It may have the best set design and attention to detail of any James Bond film before the modern Daniel Craig era. Everything in this film looks great from the villain’s war room, the villain’s palace and every other prominent interior set.

This chapter in the series also has one of my favorite opening sequences in the franchise. The plane through the hangar scene still looks great today.

I also like the Bond Girls in this film. Maud Adams was spectacular and Kristina Wayborn blew me away with her beauty. I was crushing on her hard when I was a kid in the ’80s.

Octopussy may have been a name I was afraid to say in front of my parents in the mid-’80s but it was a film I liked and one of the first James Bond experiences I ever had. My uncle used to rent this thing on VHS constantly.

It is also worth mentioning that 1983 saw the release of two James Bond movies, this one and an unofficial remake of Thunderball, which starred former Bond, Sean Connery. This film is the better of the two and the public and critics agreed at the time.

Rating: 7.75/10
Pairs well with: The other Roger Moore James Bond movies.