Death Proof: Take Two

After last night's stellar screening of Death Proof, I decided that I wanted to go again tonight. I wanted to make sure my experience wasn't a one-time thing, that the pure movie-going joy I experienced wasn't just a single shot.

I arrived about fifteen minutes to showtime. They would be playing Death Proof first tonight, so I could get right to the meat of it. A few more people filed in, and the movie started. One big worry going in was that my experience would be somehow diminished, due mostly to the fact that I had just finished watching the same movie less than twenty-four hours ago.

But then a peculiar thing happened; I enjoyed the movie more. Ever scene, every performance, every line was pitch-perfect. Every joke hit just the right spot, and I found myself laughing even harder. I was along for the ride. I began to pick up on every nuance, every subtlety I may have missed in my first go-through. The camera work is so amazingly subtle, that you don't even notice that the scene you have been watching for ten minutes has been a single take, the frame making the slightest, barely noticeable adjustments to accommodate every need of the scene. And most of all, was the chase scene. I was every bit as exhiliarated and on the edge of my seat as I was last night, transfixed on the screen.

And then, at the end, I was so caught up in the moment, that despite my knowing when and where every hit was coming from, when the credits began to roll, I cheered along with everyone else. It was such a visceral screening experience, that I couldn't help but think back to a year ago, when I went to see Snakes on a Plane, a movie that tried so hard to create that visceral, exciting experience, seeking to fabricate a sense of energy that this movie executes flawlessly. Imagine my surprise when the lights came up, and I looked behind me to see a packed house, with a smile on every face. Nobody was disappointed, no-one felt that they had wasted their Saturday night (homecoming night, nonetheless) at some bad attempt at a b-movie.

And then I, along with about one-fourth of the people I saw it with, some of whom were there last night as well, left. After such a well-executed moviegoing experience, there was no way I would be able to sit through Planet Terror again.

Day 4 - Grindhouse

Tonight, for the first time in Mitch's Film Festival history, I had company! My friends Gavin and Milap both came along with me to see Robert Rodriguez and Quentin Tarantino's double-feature ode to 70's B-flicks, Grindhouse.

To start the experience was Robert Rodriguez' Planet Terror. Now, this half of the movie had been getting lackluster reviews from critics, but watching it, I was surprised at how watchable it was. I found myself enjoying it for the most part. However, Rodriguez chose to fill the flick with various winks and nods at the audience, as though he were spoofing the grindhouse cinema rather than paying it homage. However, he still manages to make it work, despite some somewhat questionable performances and complete disregard for the rules and bylaws of zombie lore. Other than that, I took no major issue with the film.

By the time it ended, it was around ten-fifteen, and Milap wasn't impressed. He was ready to go back to the dorm. Luckily though, I managed to convince him to stay for the second half.

Then Death Proof started. However, I wasn't immediately sucked in. Something felt odd, be it the acting, the locale, maybe even the faux-grain placed over the film. (of course, this was only minor compared to the sand-trap Rodriguez must have used to b-flick-up his half). However, while some people were turned off by the heavy amounts of dialogue, that is actually what finally made me come around. Quentin Tarantino just has a way of writing conversations that makes them so utterly watchable. As many of you may know, halfway through the film, the initial characters are killed off, and after a short interlude in a hospital, we immediately meet three new girls.

And this is where the movie really started. It was like a whole different film. The faux-grain was gone, replaced with a stark, black-and-white scene at a gas station. All of Planet Terror's flaws are suddenly magnified. It's very apparent: This is already, by far, the better half.

The movie soon switches to color, and we are introduced to a group of girls that is not only more charasmatic than the first three, but a million times more likeable overall. After a bit more dialogue and the introduction of a fourth girl, we soon find them being pursued by Kurt Russel's Stuntman Mike, just as in the first half. However, A different set of girls, a different set of rules.

As to preserve the story for those who have yet to see it yet, I will remain scant on the details from here on out. However, all you really must know is that the chase scene in this movie had me floored. I can't remember the last time I was so enthralled by a scene in any film. I sat in my seat, mouth quite literally agape with awe, simply laughing from excitement. Then, the ending. This movie contains what may be the most satisfying ending of any movie I've seen in years, perhaps ever. Even Milap, who before it started was dead-set on going home, left with a mile-wide grin, joining us in singing it's praises all the way home.

I would think that it is obvious what my verdict is by now: Rent both, and watch them in the order they were meant to be seen. However, if you have to pick one, even if you have to pick one movie to watch for the rest of the YEAR, make it Death Proof. I wholeheartedly assure you that, unless your heart is pure, black coal, you will love it.

Day 3 - Inside Man

I remember when the movie was released, I felt indifferent to it. It looked like, at best, an average heist flick. I started to feel slight intrigue when I started to hear the positive reviews, but my interest was still dysmal.

I will say this now, the movie does have a major twist ending. Last week, in my review of The Usual Suspects, I made note of how I don't even like to know if a movie has a twist, because I then spend the rest of the movie looking for clues. And in a movie like The Usual Suspects, they were all there.

However, don't bother looking in The Inside Man. The film has as much of a twist ending as a pretzel; It doesn't save it's twist for the end, rather turning throughout, so you can never quite gain the equilibrium to get inside the characters' heads. All horrific metaphors aside, the story revolves around a New York City bank heist by a clever group of criminals, who are always two steps ahead of the police, particularly Denzel Washington's slick NYPD negotiator, who just can't quite catch up with what the thieves plans are.

Not only that, but the movie is directed so that the audience hasn't a clue either. As I spent the first half trying to look into motives and possibilities, by the midpoint of the film I had given up. There was no use, because Spike Lee directed the film to keep the audience absolutely stumped until, quite literally, the final seconds of the film.

Which brings me to another point: This film would not end. I don't mean that it dragged on, quite the contrary. The movie breezed by, taking me on a wild mind-bender, every second of which I enjoyed. No, rather the aftermath of the robbery led to so many scenes that, in any other film, could have directly proceeded the end credits, much to my disappointment. However, after each scene, it faded into another, drawing me further toward the conclusion.

However, I cannot stress this point enough: You will not forsee the ending. Where other famous twists (such as the end of The Usual Suspects, for instance) not only drop clues and hints to the conclusion throughout the film, but also have a long, dramatic buildup to the big reveal, the end of The Inside Man comes at you like a brick from behind. I was quite honestly left staring wordless and gaping at my screen for a moment, letting the pieces fall into place. The more I mulled it over in my mind, the more the ending started to resonate with me.

However, how did the rest of the film work? As you may have gathered, it did indeed work, and quite well. The film was most enthralling for the first three-quarters, during the standoff in the bank. Once the robbery ends, the rest of the film is left answering questions, and further building the atmosphere that the previous scenes had brought forth.

One of the few disappointments I had was Jodie Foster, only because her character acted more as a red herring. Not that she was ever a suspect of any wrongdoing, because we know from the moment we meet her what her intentions are. However, it is more that her character wasn't developed enough. It seems to me that her character could have been removed from the film entirely, and it would have effected the overall picture very little.

However, if you haven't been able to gather by now, I thoroughly enjoyed The Inside Man. It's a film that knows just where the audience's thoughts are, and makes sure to keep it's intentions hidden. A definite recommendation.

Day 2 - True Romance

For years, when friends would try to explain the concept of True Romance, I simply had to imagine that the title was ironic. A film such as this hardly seemed romantic. However, Tony Scott's 1993 flick written by Quentin Tarantino cannot be tied down to one, or even multiple genres. It simultaneously functions as an action flick, as well as a love story.

However, this is certainly not The Notebook. The film opens as we meet Clarence (Christian Slater), a twenty-something comic book store clerk who loves kung-fu flicks and Elvis, but runs into a little trouble when it comes to the ladies. When he meets Alabama (Patricia Arquette), he falls deeply in love with her, before finding out that she is a call girl his boss hired for his birthday. But she is just as in love with him, and they get married.

However, not a day into their marriage, their lives are turned upside-down when they accidentally steal half a million dollars of cocaine. Throughout the movie, the pair meet a who's-who of seedy characters, including Christopher Walken as a sinister mob boss, James Gandolfini as a hired thug, and Gary Oldman, giving a great performance as Drexel, Alabama's pimp.

One of the most astounding things about this movie is not how many big names it stars, but just how little the movie focuses on them. Samuel L. Jackson, for instance acts as more of a setpiece, only appearing onscreen for about a minute, with little dialogue. However, this is more of a strength of the film than a weakness. While many films get distracted focusing on cameos from other big-name actors, True Romance never strays from the relationship between Clarence and Alabama.

As the film progresses, I felt closer to these two characters, and while the relationship seemed false and rash at the beginning, as the story progressed the true earnestness of the relationship began to shine through, and I really started to care for them. By the time the the final credits started to roll, I was totally invested in the story, and I couldn't have been more satisfied.

Day 1 - The Usual Suspects

I know that it the following statement may at first sound like I'm lying, fibbing to stretch the perception of my film-going senses, but I assure you it is the truth; I saw the ending coming. Something about Kevin Spacey's character, the way he drew my attention, I knew something wasn't right about him, and as the plot continued to unfold, I had the movie figured out a good 45+ minutes before it ended.

But then, something magical happened. The closer the movie got to the final scene, the less sure I got. Through his actors' performances, Brian Singer got me to second guess myself. The performances, and the way the scenes were shot were so well done, that by the end of the movie, I was absolutely CONVINCED that I had been wrong, and that the movie had spun in some unforseen, mysterious direction. I had given myself up to the movie, following every scene with timid anticipation, letting the plot finally begin to unravel.

After that, you'd think it would be dissapointing for me to find that my initial deduction was correct. You think that I would say "That was it?", throw my hands up, and move on. However, that's the beauty of it. The fact that Brian Singer's directorial skill was so great that he could absolutely convince me that my previous (and correct) assumptions were wrong, without sacrificing any of the plot's integrity is nothing short of amazing.

After the movie concluded, I was rather impressed with the film, but since then my love for it has only grown. The film is truly a triumph, a legend amongst the crime thriller set. I implore you to see it as soon as possible, because every second not spent watching this film is another chance you take to have someone ruin the ending for you. (Trust me, it's best to in fresh.)

Opening Ceremony

Hello everyone, the name's Mitch. I know what you may be thinking: Why on earth do I deserve my own film festival?

I don't.

I would like to consider myself a film buff. However, that would be stretching the truth somewhat. While I do enjoy film greatly, I do not feel I have a background to truly qualify calling myself a "buff."

But that's why I started this blog. Last summer, I decided that I was going to catch up. I haven't exactly been racing through my backlog of movies I have yet to see, but I'm working my way through, and I'm going to use this blog to keep me going. This blog will be my tool to keep myself steadily moving through my backlog of movies both new and old. I will post reviews whenever I get around to them, but try to keep a somewhat steady schedule. If anyone reading this has any suggestions, then I am always open to new ideas for what to see. I only hope that someone will read this and find the slightest bit of enjoyment in doing so.

Before I begin, I would like to again stress that I don't consider myself to be all that fluent in film. If you are looking for a top-notch source of movie reviews and discussion, I would like to direct you to Filmspotting, a weekly movie podcast that is perhaps one of the better podcasts out there.

But nonetheless, welcome to Mitch's Film Festival!