Source Code
The James Bond Films (aka 007)
The James Bond series of films is based on the wildly successful series of novels by British author Ian Fleming, which helped popularize the genre of espionage novels by creating a fictional intelligence agent whose adventures resembled those of swashbuckler films of the 30’s.
The novel Casino Royale was author Ian Fleming’s first, and introduced the world to his glamorous and amorous debonair spy, James Bond. He is given the code name 007, the double-ought series of agents being those with a license to kill in the line of duty. This novel largely revolves around the high-stakes casino card game of baccarat, in which two players go head-to-head like a duel, with money rather than blood at stake. This novel being more cerebral and involving less action and womanizing, it was not filmed until 2006 – more on this film follows below.
The first novel transferred to film was Doctor No, and made an international star out of little-known Sean Connery. Producer Albert Broccoli’s wife had noticed Connery in the film Darby O’Gill and the Little People and suggested to her husband that he would make a dashing and attractive spy. Broccoli wisely followed his wife’s advice, and Connery created a handsome and macho hero equally attractive to both genders. The film also introduced a bikin-clad Ursula Andress to the world and she became the archetype for the subsequent series of what are now called Bond Women.
The second film, From Russia With Love (1963), remains my favorite, as Bond is assigned to woo a secretary at a Russian embassy in Istanbul, Turkey, who has agreed to help the British obtain a Russian cryptology decoding machine, which she will turn over to Bond. To me, this is the most realistic of all the Bond films, and introduced the now famous props of spy gadgets that became a mainstay of later 007 films. In this film, it took the form of a briefcase that had disabling gas, hidden money, and weapons, all of which weren’t obvious to the unsuspecting examiner.
After a series of successful Bond films with Connery up through 1968, including the highly popular Goldfinger, he tired of being typecast and let his contract expire. A rather critically successful film was then made with unknown Australian actor George Lazenby, On Her Majesty's Secret Service (1969). This film has some terrific action sequences in its favor, Telly Savalas as the evil villain, and a beautiful post-Avengers Diana Rigg as a Spanish count’s daughter, and who becomes Bond’s only onscreen wife to-date. The film-going public didn’t take to Lazenby in the role, however, and he was cast aside after just one film, which ironically remains superior to any starring the successors to Connery.
The studio, not willing to kill the golden goose, then cast a rather bland and unexceptional Roger Moore as Bond, after an exhaustive series of auditions, one of whom, Pierce Brosnan, was rejected only to be later hired as Moore’s successor. These films are forgettable compared to the Connery vehicles. When Moore became too old, the series was continued with Brosnan, with similar results: a few more un-stellar efforts with more action than plot, usually involving a typical Cold War enemy, some Russian with designs on wreaking havoc with nuclear missiles, or holding the world at ransom using weapons. These were not from novels written by Ian Fleming, which is one reason the plots are lame and stereotypical in comparison.
The series almost died out until the first novel, Casino Royale, was filmed in 2006 after the sudden revival of interest in high-stakes poker on tv. (The title had been previously used in a comedic satire starring David Niven and Woody Allen, but the story had nothing to do with the novel or the series).
Peter Medak, 1990 (8.1*)
The Kray brothers were twin crime bosses in the London underworld in the 60's, here well played in this fact-based film by Gary and Martin Kemp, ex-members of the band Spandau Ballet (perhaps the worst name in the history of rock, after Strawberry Alarm Clock).
Though the violent film is based on fact, it gives a synopsis of their lives that would require a long mini-series to be fairly complete. Some viewers online (who knew the brothers) claim there are some factual or other errors, but that doesn't detract from the film for those of us not familiar with their story. Their racket was the common story of sellling 'protection'.
The Krays actually served as technical advisors on the film, Reggie suggesting Patsy Kensit for the role of his wife (she declined), played by Kate Hardie. Veteran Billie Whitelaw is a standout as mother Violet.
Stanley Kubrick, 1987 (8.8*)
This film of the Vietnam war era is in two distinct parts. In the first, a group of Marine recruits are punished in basic training by real army vet R. Lee Ermey as Sgt. Hartman. Vincent D'Onofrio is an overweight and slow recruit who becomes the target of everyone's ire, with unforeseen consequences. This half of the film is pretty basic, and goes on far too long.
The second part follows one of those recuits, Matthew Modine as Pvt. Joker, who now covers the war for the Stars and Stripes military newspaper. His squad is sent into the harrowing streets of Hue during the Tet offensive. This half of the film is much better than the first, which is similar to The D.I. with Jack Webb. The photojournalistic approach works really well with a city war controlled by snipers. There's some terrific war footage here, as well as some riveting and tense scenes.
You're made to feel like a part of this squad from the beginning, so in that regard it's one of the more realistic war films. I would have loved to have seen more of Vietnam and a lot less of basic training, and it would have perhaps been a perfect war film.
Andrew Niccol, 2005 (8.6*)Nicholas Cage plays arms dealer and Russian immigrant Yuri Orlov, who learns early in life in Odessa that guns rule, and gun dealers make money. He eventually elevates himself up to a level that makes him a worldwide target for Interpol, with agent Ethan Hawke doggedly on his trail.
Cage deals with anyone with the money, for him it's just a business, a way out of poverty; his brother Jared Leto thinks otherwise. There are some major revelations here about how the major arms dealers operate, and their impact on hot spots around the globe. Cage is in his element here, cool and confident while dealing with some of the most dangerous people on the planet.
This has some exciting action as well as the feel of a Bond film, but it's based on a true story.
Ridley Scott, 2001 (9.0*)
Super intense war film has a very simple premise: a U.S. helicopter has been shot down in the city during the occupation of Somalia. It's now the mission of ground forces to rescue the crew while they are under attack from all sides in this war against warlords. It seems that every civilian has an AK-47 in this city [see Nicholas Cage in Lord of War for how they got armed] and each individual army has a common enemy: americans.
The focus is constantly shifting from the soldiers in the crashed helicopters to those on the ground trying to fight their way to the crash site through the enemy in the streets. This is riveting, thanks to super editing, cinematography, and sound. It's hard to believe we're seeing special effects and not the real thing. Some of the more recognizable cast in include Eric Bana, Ewan McGregor, Josh Hartnett. Tom Sizemore, and Sam Shepherd.
Lewis Milestone, 1930, bw (8.5*)
Best Picture (AA)
Winner of the Oscar® for best picture of 1930, this classic anti-war film is based on the novel by Frenchman Erich Maria Remarque. Ironically, in shooting this film, which is about young, idealistic German soldiers, director Lewis Milestone, also an Oscar®-winner for best director, chose to have the Germans speak English, yet the French are speaking French! go figure..
The lead role went to young Lew Ayres, just 19 at the time and with no major film credits. At times he overacts a bit, as do most actors of that era, used to making exaggerated facial expressions, a holdover from the silent film era. If you can get past the dated look of this film, and the resulting stilted dialogue, then it's actually a pretty good war epic.
There are many scenes of WW1 action that are probably close to reality. We've become so accustomed to Hollywood war films that a realistically shot war film will likely look more tame to us than celluloid war. Unfortunately the pace of the war sections are broken up by visits home, visits to wounded comrades, too much marching, and much searching for food. In short, this 150 minute film could have been under two hours with a drastic improvement in pace for the viewer.
I wouldn't call this one of the great war films by modern standards, but it's an important war film in the history of cinema, and pretty good for its era, coming soon after the first best picture winner, Wings, also about WW1, but a silent epic. This should make an interesting double feature with Jean Pierre Jeunet's A Very Long Engagement, a 2002 French film about WW1, one of the most beautiful color films ever shot, about a woman's search for her fiance, missing from the front lines. We see his story in flashbacks until its conclusion.
Ranked #212 all-time on the IMDB top 250
Carl Franklin, 1999 (9.1*)
Terrific crime film that is one of the best films yet from an African-American director, former actor Carl Franklin. The story begins with a brutal robbery-murder of drug dealers in Los Angeles, spearheaded by Billy Bob Thornton. The gang then flees toward a member's ex in Arkansas.
Meanwhile, using what few clues they have, the feds send one pair of FBI agents to a small town in Arkansas where they liaison and enlist the aid of local sheriff Bill Paxton (Aliens, Big Love) just in case the gang heads toward the ex.
This is the perfect synthesis of plots. We have the countdown factor of impending forces coming together (not at a time, but at a destination), we have a road trip for the killers, and we have bigoted southern cops dealing with interracial federal agents. This makes for terrific suspense, and Franklin's sense of pace keeps you riveted until the conclusion. This is now one of my favorite all-time crime films.
Samual Maoz, Israel, 2009 (8.6*)
Golden Lion Award, Venice
Riveting war film follows an Israeli tank that is lost inside Lebanon and separated from the rest of its division during their first war in the early 80's. It's been described as the 'Das Boot' of tank films but it's a lot shorter at around only 100 minutes, and also lacks the epic scope of that submarine film.
It is however, eerily realistic for the trapped and claustrophobic environment of a tank crew lost and without support inside a hostile country, when you don't get out of the tank for any reason, nor do you sit still in any location for very long. The only view of the outside is through circular viewscopes, all attached to guns, so the only thing that can be seen is what you're aiming at, there is no peripheral or panoramic view available.
They're not entirely alone as they are joined for awhile by an infantry squad, but there is obvious friction between those inside and outside the tank, and those inside don't always trust decisions made on the outside, which adds to the helpless feeling of being trapped in the tank.
This film belongs in all lists of must-see war films as it presents a unique view of modern war, and also covers an aspect of a war rarely covered by any films. Winner of 10 awards overall, most for its excellent cinematography
David Michôd, Australia, 2010 (8.8*)
Sundance, Grand Jury Prize for World Cinema
Powerful story of a crime family in Melbourne, Australia is director David Michôd's first film. The incredibly complex script with terrific dialogue was re-written several times by Michod over a six year period before filming, and it shows.
The story involves J, a teenager played by newcomer James Frecheville just out of high school, whose mom overdoses in the first scene. With no alternatives, he goes to live with grandma Jacki Weaver, who turns in a mind-blowing performance. She is basically the leader of an organized gang of her four sons that does armed robberies, all uncles of J's and unsure how much to let him know.
What follows is J's introduction to the family trade, and their running battle with the Armed Robbery Squad of the city police, which is now operating beyond the law and performing their own hits on suspects without bothering for arrests. This is a chilling story reminiscent of L.A. Confidential, but a bit more realistic, being placed in an unspecified 80's time period, a time when Machod had moved to Melbourne and "was reading lots of true crime articles" which inspired this story (in an interview on the dvd). Veteran actor Guy Pearce (Memento, The Proposition, L.A. Confidential) plays a smooth police detective building evidence against the brothers, who thinks J may give up some information if bothered enough.
Jacki Weaver has 12 nominations for either lead or supporting actress so far for her incredible performance as the mother from hell, who supports her boys' life of crime, yet who is still loving and likeable. I hope she wins the Oscar® for supporting actress, she's simply unforgettable, and has likely turned in the performance of her long career. The film has already won the Grand Jury Prize at Sundance for World Cinema.
Check out all hers and the film's nominations here
aka Indigènes (Algeria-Morocco-France-Belgium)
Rachid Bouchareb, 2006 (9.3*)A ten-year project for director Bouchareb, who had to research this story by spending a year interviewing survivors of WW2, then around 80-90 years old who fought for Algeria and Morocco in liberating France, which were around 200,000 in total number. He then completely story boarded the film with over 900 drawings.
The story follows four soldiers in one unit from Algeria, and their sergeant from Morocco, beginning with the invasion of Italy and continuing through France. The acting is uniformly superb, and all the male lead actors won best actor at Cannes as a group. The action is at the level of Patton and Saving Private Ryan, perhaps a bit more Hollywood looking, but then it was made for just around 15 million - here it would have been a 50m epic from Spielberg or Eastwood and been nominated for 8 Oscars. Personally, I think the acting is better than either of these American films, far more realistic and credible overall; there are no hams in this group because there are no stars. (Of course, Scott needed to be over the top because George Patton was also, certainly 'bigger than life' compared to the unheralded infantryman.)
In actuality, it grossed only 300k in the U.S., which means it was seen by less than 100,000 people. That's a crime for a war film this good. Perhaps its because a large part of the story's intent is to enlighten us to the untold story of North African fighters who were largely ignored by history and the French government. There are also issues of prejudice between the Moroccans and Algerians, and of course major ones between the French and Algerian.
The war scenes are realistic and intense without excessive gore, and the overall pace held my interest until the end; it's a very finely crafted film. Overall, this is a film you won't easily forget. It should have won more awards worldwide, but did get nominated for 9 Cesars in France, and a foreign language Oscar® here, representing Algeria. [It was a tough year for that category, see my note below] Winner of 6 awards out of 18 nominations.
Note: the foreign language film academy award that (in 2007 for 2006 films) was a far better group than the main best picture films. The winner, The Lives of Others, is a great film about espionage of ordinary citizens. After the Wedding is my favorite Danish film, an all-time top 50 for me. Water, from Indian director Deepa Mehta, is her best to me, also one of my favorites of the decade. The only one I didn't like was a double Oscar® winner (Special effects, Makeup) and was favored here, Pan's Labyrinth. It's story wasn't nearly as compelling as the other four, which are all classics of their genres. I would have understood any of these winning except Pan's. Voters in this category have to attend pre-Oscar® screenings of all five in order to vote, so there's a more fair assessment than any other category. I agree with the choice, and Lives of Others is one of only 5 films in history to win both the US and British academy awards for foreign language film.
Christopher Nolan, 2010 (9.2*)
If you take the paradoxical spacial anomalies of artist M.C. Escher and use that structure to construct a film narrative, you'll get an approximation of the complexity of the plot of Christopher Nolan's amazing science fiction film. Most of the action takes place in a dream state, which means that you get something based in reality, yet one which seems to have some small anomalies that trigger the uneasy feeling that something is not quite right.
Using the idea that the subconscious may be manipulated from this state, an idea they call 'inception', scientist Leonardo Dicaprio has built a small company that attempts corporate espionage for huge fees. Joseph Gordon-Levitt plays his assistant, always there to help monitor the dream state, while ex-wife Marion Cotillard, who steals the acting kudos in this, usually shows up in Dicaprio’s sub-conscious state.
In a new assignment, he is hired by Ken Watanabe who has a business agenda involving the late Pete Postlethwaite (who recently died of cancer), plays a dying business tycoon who built a huge congomerate that he’s passing on to son Cillian Murphy. He enlists the aid of an architect, in this case student Ellen Page, to build a false world but one based on the reality of the particular subject's.
There are elements injected by Nolan that the non-scientist wouldn't consider, so this is a well-researched idea that gives reality to the subconscious world through some mind and space-bending special effects. Nolan has managed to create an imaginary world so close to reality that the subject is fooled into thinking he's in a real situation and responds to the manipulation.
The man who gave us the complex backward chronology of the murder mystery Memento has once again used a brain-scrambling narrative that will both intrigue and baffle many viewers. Nolan, who also gave us Batman Begins and The Dark Knight and the Sci-fi magic tale The Prestige, is proving to be able to stand apart from a legion of formulaic filmmakers in making us think while he keeps us riveted with action that threatens to propel his main character over the edge of a cliff at any moment.
Currently ranked #6 all-time on the IMDB 250, it's obvious that Inception has enough action to satisfy that lowest common-denominator of film fans, cloaked in an intellectual puzzle sophisticated enough to intrigue and pique the interest of those of us tired of the standard action formula film of good vs. evil with a fight to the death as a predictable climax. The film is up for four upcoming Golden Globe awards, and 11 Satellite awards, and will certainly be a contender for some Oscars® as well.
aka Léon
Luc Besson, 1994 (8.6*)
Critics panned this violent film when it came out, but I was captivated by the first time performance of newcomer (and amateur) 12 yr old Natalie Portman, who was discovered in a Long Island laundromat with her mom by a model agency rep on a weekend. When she went to the agency the following Monday, they sent her to audition for this film and she got the lead role.
She plays a young girl who goes out for some groceries while her family is massacred by corrupt drug agents, led by an insidiously evil Gary Oldman. She continues past her apt and knocks on the door of French hitman Jean Reno, who takes her in out of pity.
What follows is a western style bloodbath, as Reno is so good at his profession, and in his best film role (Ronin is another good one, a Frankenheimer action film with DeNiro) that no one can capture him, and he vows to protect the girl with his life, as well as teach her what he knows about survival.
This is an enjoyable action film, yet you also buy the platonic relationship and affection Reno develops for the tomboyish orphan. Portman displays incredible emotion (see photo rt) with no prior training as a waif cast adrift by the lawlessness of the big city. Portman is so good in this film that everyone could tell she'd be a major star, eventually garnering an Oscar® nomination for Closer.
This is now considered a cult classic, and is on many top film lists. Currently #35 all-time on the IMDB top 250.
TV miniseries for HBO, 2010 (9.0*)
Directors: Tim Van Patten, Carl Franklin, Jeremy Podeswa, David Nutter, Tony To, Graham Yost
[Happy New Year! I felt this to be a fitting tribute to 2010 overall as this series is from this year]
A worthy successor to the Spielberg-Hanks produced Band of Brothers (2001), which was perhaps the finest series ever filmed, and which would be ranked #1 at Internet Movie Database if included in their top 250 film list. Rated 9.6, it would be well above #1 film The Shawshank Redemption at 9.2, and #2 The Godfather at 9.1. The Pacific is rated 8.4 with only 13k votes so far, which would definitely place it in the IMDB 250 with a rank around 150.
While Band followed one company from training for D-day until the end of the war in Europe, The Pacific is based on the memoirs of two different privates in to units, named Leckie and Sledge. As a result, the story is not as cohesive nor as gripping as Band of Brothers, but viewers certainly get a feel for the hellish nature of the island-hopping, shifting frontline of the war against Japan from the marine point of view.
Much of the action takes place on Guadalcanal, Peleliu, and Okinawa. Once again, various directors filmed the different one-hour parts, so there's a bit of inconsistency of style. Also, the story shifts from the island fighting to the civilian stories in Australia and the U.S. which lessens the intensity. Another plus for Band of Brothers is that the survivors of the fighting were for the most part still alive for interviews that added both veracity and insight to that series. Unfortunately, in this case the principals had all passed earlier than filming; ironically both Sledge and Leckie died in 2001 (when Band was released), but each did complete books that chronicled their experience, all available now from the HBO site (see below).
Although overall the acting is not as good as Band, the unknown lead actors James Badge Dale (Pfc. Leckie), Jon Seda (Sgt. Basilone), and especially Joe Mazzello (Pfc. Sledge) are certainly all believable as soldiers. William Sadler (as famed "Chesty" Puller) and Gary Sweet (as Sgt. "Gunny" Haney) are terrific as older veterans. Gunny was my favorite character, the wiley older vet who has survived because of his skills, and the type of soldier that keeps others alive.
My favorite episode was part five, called "Peleliu Landing" on the dvd (when shown, none was titled other than "Part x"), which was filmed by black director Carl Franklin. That begins inside a landing craft of marines about to go ashore in a harrowing sequence that recalls the beginning of Spielberg's Saving Private Ryan. Another harrowing part is nine, following the marines for months in Okinawa, directed by Tim Van Patten. Each of these episodes were singled out for Emmy nominations. Van Patten, Podeswa, and Nutter received directing nominations, but none won.
The intensity and impact of the series is also lessened by intervals away from the war, such as r and r in Australia and the searching for romance there, and following Medal of Honor winner Joe Basilone back in the states on a tour to promote war bonds and stamps. However, the overall series is an important contribution to the library of great war films, and valuable homage to the price paid by these soldiers, and is a must-see for all fans of history and war.
Winner of 8 Emmy awards out of 24 nominations. It's also up for a Golden Globe, yet to be awarded.
The home page for the series at HBO
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