Change Your Image
mxddiie07
Ratings
Most Recently Rated
Reviews
The Graduate (1967)
Insanely clever and artistic
The Graduate gets better and better with each watch. Nichol's knew how to use the camera to put his audience into every emotion, every ambiance, every minute that passed by. The writing behind this film is filled to the brim with hints and clue and details. There's such a big nod to how Ben is stuck at a crossroad in his life; whether he goes for someone older or younger... for starters. We constantly see that symbol of elder vs youngin'. The score of the film was absolutely delightful and added so much more character and overall cinematic development to this movie.
Bonnie and Clyde (1967)
A Classic!
A break-out film that was paced right... that's what it is! It's so easy to root for the couple. Their wit and charm is constantly entertaining. The cinematography is beautiful and makes this film even more memorable. As I've mentioned before, memorable ingredients to your film make it well-known and iconic. As soon as you hear the names Bonnie and Clyde, your ears perk up. Knowing that this film is based off of real life events, it pulls you in even further. Would definitely recommend everyone to view this film!
Who's Afraid of Virginia Woolf? (1966)
Impressive through and through
Who's Afraid of Virginia Woolf? Is one of those films where you get so lost in it that you wouldn't even realize you can count on one hand the amount of actors there are and how many locations the films takes place in. The tight-knit feel to it makes you realize focus in on the characters and doesn't leave you forgetting what's happening with who. Martha is arguably one of the best developed characters. Arguably, all 4-5 of them are. The cinematography of this film pushed the film even further. The score as well. Everything about this film makes you fall in love with characters that you never want to know in real life. One can ask themselves if they'll be able to withstand sitting through a movie of minimal characters talking constantly for two hours... to which I would recommend pouring yourself a drink and reaching for the remote.
Guess Who's Coming to Dinner (1967)
Anyone up for seconds?
This film will always be relevant. Unfortunately, racism is still a very big issue. This film, for its time, did what it needed to. It played it safe with it's theme by making sure not to spark any more flames that it could avoid and tidied up the ending so there was no loose strings to be pulled that would unravel the film. Back in 1967, you would have been insane to point out how absurd racism is/was. This film did just that. There were a lot of memorable moments that really plants the seed for what the film was digging at. It was a visually appealing film and I have no complaints towards it. It did it's job then, and still does its job now.
Vertigo (1958)
Heights were never my thing!
Alfred Hitchcock has done it again. I find his movies to be very unique and attention-grabbing. His ideas and techniques are thrilling! The score of the film was beautifully put together and suited the visuals of the film. Hitchcock made sure that the use of color in this film took the lead. His ability to truly let colors set the mood is admirable. Each character was developed in a way that feels different than how characters are typically formed. I would highly suggest viewers to pay attention to colors that are consistently on the screen. Never trusting what you see or think definitely plays a role in this film. Our main characters, Scott and Madeleine, appeal as more than the people we see. They become the colors we see. It is a very easy film to get lost in your head with. It takes some thinking and putting pieces together, but with every re-watch you gain more information about the not one, but TWO twists at the end. Hitchcock almost never disappoints!
The Wizard of Oz (1939)
One of the most timeless classics you could ever watch
The Wizard of Oz is arguably one of everyone's comfort films. Nothing screams your childhood like sitting in front of a static TV watching the movie go from black to white to color. Each of the actor's couldn't have suited there role any better. The score is memorable, the sets of the film are full of life, and overall the movie has very much like a fairytale or storybook feel to it. The lighting and color seemed a bit washed out and overdone at times; I think it's because the film was never advertised to be in color so they wanted their audiences to experience the wow-factor of a lifetime. Despite any dull moments or scenes that today would make you cringe or skip past it, overall this is a movie that will always age in a positive manner for years to come. It never gets old, nor does the comfort it provides fade away.
Singin' in the Rain (1952)
Just the title alone will make you sing!
This is easily one of the most entertaining, energetic, unforgettable and lovable. The colors of the film were fresh and upbeat. Everything was so fresh and new! As a film about sound in film, I'm so grateful that this movie itself has some of the most impressive and well-used sound in the field. The songs and dances felt so alive on the screen. During the entirety of the film, I wanted to jump through the screen and join the fun! This is easily one of the most well-known, iconic films of society. And for all the right reasons! Although there may have been times were the acting was a bit off-beat, that wasn't something you constantly caught onto to. I feel like everyone is a bit more focused and excited to see what the next dance routine was or what the next song would be. Overall, great great great film!
Psycho (1960)
It gets better every time you watch!
Psycho is one of those movies when you re-watch it, you find more and more details that contribute to the ending. Everything about this film was intriguing, mysterious, and kept you on edge. Lighting and shadows were pushed further than I've seen in a film so far. A memorable and iconic film has to do with either the ending, the score, or a specific scene. Psycho takes the cake and checks off all three boxes multiple times. The actors delivered their roles and made you feel like you never truly knew what was going on, which added to the suspense. The ending totally threw me off guard, and made me rethink the whole plot. It's important to note how well the script was written, because it makes the ending that much better. Overall, this was a film of genius and really had you tearing your mind apart trying to piece happenings together. Nothing will prepare you for the ending!
Detour (1945)
Luck is NOT Al Robert's middle name
It's impressive that this film had no budget. I think the team who worked on this film pushed for that dark and grimy ambiance, which worked in their favor. Visually, this film isn't astounding. It's not that great; overall it's as decent as it could be. The score of the film was nice, but I felt as though it overpowered moments. It was a little too loud for it being part of the non-diegetic sound of the film. Despite some of the lacking components, this movie earns 7 stars because of its incredible dialogue. The comedy and wit of our characters shines through. It's not so much watching Vera and Al go at it, but rather listening to them go at it was amusing. Sarcasm runs through the veins of Detour and has the audience's attention until the end. The storyline of the film wasn't overly complex, and ultimately allowed for the dialogue to run far.
The Hitch-Hiker (1953)
Don't trust a raised thumb
Not all low-budget films fail to have decent success. Ida Lupino uses what she can to make a simple story horrifying. The actors knew they had to kill their performance and followed through with it. The inside of a car never feels as claustrophobic as O'Brien's car, which is one of the prominent settings in this movie. Everything about this film was suspenseful and tense. It's pace works well and Lupino knows what she was doing. Talman is an unpredictable man and is mentally insanely. He was a mix John Doe from Se7en, Hannibal Lector from Silence of the Lambs and Alex from A Clockwork Orange, before any of these characters were on the screen. He is physically and mentally menacing, and you feel unsafe even if you are not in the car with Lovejoy and O'Brien. The music adds to the suspense, as does the lighting. The close shots in the car mean the camera is closer to the actors, so the lighting is going to change. To know that this was a real story makes me shiver. Ida Lupino's message at the beginning of the film immediately throws you off and it constantly sticks with to your skin even after the 71-ish minutes of uncomfortable suspense.
Lifeboat (1944)
Sink or swim
This was a decent film, don't get me wrong. Alfred Hitchcock has made some killer films, but I felt as though this one didn't hit that expectation. The end was anti-climatic, and I found myself more often that not losing my focus. Arguably, when you're stuck on a boat, you would get bored pretty fast. At times, it felt like the actors were trying a little too hard to be their character. It was a good cast, yes. It's just at times, things couldn't keep their head above the water. This film had a very unique plot and I was appreciative of it. Being stuck on a boat with random people, including one of the guys that sunk the ship they were supposed to be definitely grabs your attention. Each character is in their heads, and we can see that. They stray from the stereotypes society could deem them on because society has become survival on the boat. At the end of the film, you remember each character as who they are, rather than the person society would label them as. For the entirety of the movie, suspense was over the heads of the crew. Would you rather be whatever lurks in the water, or whatever lurks on the stranded wooden boat above it? The cinematography of this film did a nice job of capturing the closeness of the crew. Its mise-en-scene hit home. The lighting was impressive and almost added to the suspense. The fine details of the ambience was there, but unfortunately this film fell a little flat for my pleasure.
Casablanca (1942)
A beautiful story!
This story of romance, love, bravery and courage intertwines with a personal tragedy. We watch our main character, Rick Blaine, who is a sour man who wants to stay neutral with the conflicts going down at his cafe, turn into a man who takes a stand for himself and others. He never wanted to get involved, but it became necessary. The audience can't help but feel for him and Ilsa; their pain, pity and pride feel so real through the screen. The writing of this film was well-done and the score always hit at the right moments. At some moments, however, I felt were slow, but it could've been purposeful. The editing works perfectly with what the audience needs to see. Casablanca is a beautiful story that was beautifully filmed!
My Man Godfrey (1936)
For this being my first screwball comedy, I loved it!
My Man Godfrey was unpredictable in every way. Whether it be it's heavy screwball characteristics, or how talented the actors were, this film was amusing to watch. Each character was very unique and well-developed. The way they interacted with each other was comical. The score for the movie was elegant and never too much. Visually, the film was beautiful. The costumes, makeup and location were very elegant and almost gaudy at times. Everything that's beautiful on the outside isn't always beautiful on the inside. Each individual comes to their faults, and all of them put together in a household doesn't exactly suit the situation. One of the messages I caught on with was that a job can dignify a person and give them a sense of reason and purpose in this world. I also feel like one of the messages is that during muddy and overwhelming moments of uncertainty, you can discover things about yourself and reflect on others. Your kindness during those moments speak more than words will travel. Overall, this was an interesting film and I praise it's ability to hit all the right notes to earn 9 stars!
Wuthering Heights (1939)
A tragic tale of love
Wuthering Heights captures the effects that come with a person's birth and how that status is carried with them through life. Emotional love stories aim to hit you right where it hurts, and this one gets pretty close to it. All of the actors, including the supporting roles, went above their expectation to commit to their parts. They were convincing and gave it their all. It really helps to pull this story together. Although, at times, I did feel as though Heathcliff was sort of "stiff". That very well could have been part of the character, instead of the actor himself. The score for this film was one that's hard to forget. His themes for some of the characters tells its own story for them, and I find that very suiting. The cinematography of this movie was paid thorough attention to. For a black and white film, it feels sharp and clean. This paired with magnificent lighting presents to the audience a beautiful-looking film. The details and tricks that bubble over each camera angle and shot aren't noticeable and reel you in. Despite the beauty of the visuals, it doesn't make up for the ugliness that is our characters and our story. It's some of the worst bits of a relationship, or a simple connection even, but that doesn't mean a beautiful film can be made out of it. Even if there were a few moments when I was a bit lost, overall this movie does a good job of making something so ugly visually appealing.
Stagecoach (1939)
An entertaining western classic!
Stagecoach is everything you could ask for in a western film. With beautiful scenery and music that drives the audience into dreaming of riding a horse into the sunset after the tip of their hat, this film encompasses the typical vibe of dust in the air and hearing spurs click against the wooden floor of a saloon. John Ford pushed his production further by giving us a diverse cast and set of characters. The way each individual interacts with one another is amusing, and pulls out the drama. Putting such different characters into the same demanding situation lets the audience wonder how they've would've gone about it. Each person fits some sort of stereotype, but it's not a cliche. They aren't overdone and are developed just enough to where it was the actor's duty to push the skill of portraying their role. Accompanying the various happenings of this movie was an excellent score. It perfectly set us into a Western atmosphere and never felt like too much. To me, at least, a good score is what really draws you into the setting and into the mood of the overall film. The camera work was done really well, too. They used to right combination of shots and lighting to put the audience into a dramatic setting. It worked really well with the other components of the movie. They made the landscapes even more beautiful and truly flaunted its beauty through the lens.
Imitation of Life (1934)
I'm crying into my plate of pancakes
A beautifully written story with a few plots to follow, this tear-jerker is always on the menu. I've never seen a story like this before. The casting director chose just the right crew to embody such a touching set of individuals on our screens. Louise Beavers and Claudette Colbert were made to share the screen together! It is imperative to take away the themes and messages of the film. Living you best life and being truthful to not only the world, but to yourself is one of the more prominent points made. It puts years of racial stereotypes and issues into the same time period and isn't shy of presenting them lightly. The film takes on a partial responsibility of being one of Hollywood's racism through the glorified lens. We are shown the pair of widows as both equals and unequal. They may live in the same lavish home that Delilah's famous recipe essentially paid for, but there is a particular scene where you realize not everything is perfect. Bea's room is on the highest floor while Delilah's is on the lowest. Their common area may be on the middle floor, where from a viewpoint can be labelled as society. But the white people are above the black people, no matter what society's black and white cluster of communities radiate from the towns. Delilah doesn't get the recognition Bea does because she is Black. I respect Delilah's wishes in staying with Bea, because they are family and she wouldn't be able to part from the bond they have made. The audience can't help but feel bad for Peola as she desperately tries to wish away and change something that cannot be done. I feel as though Fredi Washington could have played the character of Viola better. You can't cast a white-passing actress just because of her ability to fit the physical description of the character. All in all, although this movie did have it's faults and times when things felt a bit underwhelming or too forced, Imitation of Life served it purpose to bring about the conversation of race and injustice during a time when the Black community deserved far more recognition that what they were given.
Bride of Frankenstein (1935)
It's alive!!!!!!
James Whale has done it again. This sequel topped off the first film and it's surely deserved. The plot of this film was beyond what anyone expected of it. It took the twists and turns that no one saw coming, but looking back they were quite necessary to put the film at this rating. There were some points during the film that weren't needed and that dragged the storyline too far. There was a lot of repetitive qualities to this sequel, which kind of overshadowed each repeat that occurred that made it obvious how repetitive it got. Having our old characters met new characters gave a fresh taste to what this sequel offered. One could pull apart how there was only two original characters surrounded by recasts, but you have to realize not everyone can make it into every single film. Luckily, that wasn't a big drawback to the film; at least to me. The sound of the film was perfect. It hit all the right notes at the right time and was never too much or too little. Especially for a horror film! I found that this sequel didn't hold as high of a impression as Frankenstein did. This is because some lack of special effects that were used in the first film didn't carry over into this one. Aside from all of this, I think the the last twenty minutes of the film really sealed just how impressive this sequel was. It was visually very pleasing, especially those dutch angles!
Frankenstein (1931)
One of the greats!
James Whale certainly established how a monster/horror film should play out. The "horror" that was meant to spook the audience only really reach as high as hitting a level or suspense, and not terror. The events that occurred in this film weren't predictable, and I admire the art and technique to making sure nothing seems that way. The suspense of the film started right at the beginning, as we are warned of the horror that lie ahead. When the beginning credits are rolled, our "Monster" is not accompanied by the actor's name... but rather a haunting "?". We have no judgement of who our monster is nor know was he could look like. This successfully builds for the audience to grow uncertain and dread what they will see. Our monster's appearance is unsettling because...well, he is a dead guy whose stitched together with five other body parts that weren't originally his. What did we expect? We grew unnerved of him as he became a harm to society, but also began to sympathize. He clearly wasn't oriented to this new life he was given. He didn't understand what was going on, or how he got there. When we are confused and in new settings with new faces it's out instinct to grow hostile as dangers arise. Frankenstein treated his experiment like an experiment, which yes, anyone could have guessed. But he was more than that. Colin Clive, who played Henry Frankenstein, almost overdid his role to act insane. Each character did their part to take the plot of the film and keep it running until it's very end, which pulls the suspense all the way through. The use of sound and lighting in this production helped a significant amount to create this feeling of dread and gloom. The low and high lights accentuated the disturbing monster and set the mood and tone. As for the sound, it created unease to the visuals we were receiving. There were some times when it was overdone and exaggerated... but for the most part during this time period sound was of course still a new thing and faults were to be made. Although this is not a perfect film, it establishes a solid basis/ground for horror films and monster films.
Wild Boys of the Road (1933)
Realistic in all aspects!
Wellman hit home and kept running. This film truly depicted what it was like to be a selfless kid during the Great Depression. Our main characters grew a special spot in our hearts and we couldn't help but want the best for them. Eddie, Sally and Tommy are all good kids. They know they are in danger with the law for hopping trains, residing in yards that they shouldn't be in, and resisting the police.... but they still run head on into their future if it means that they can help out their folks. I was surprised to see the gang go right after those who hurt one of their crew or risked breaking them apart. You don't usually see kids put up their fists with the police! I admire their dedication to their dreams and goals. It's unfortunate that they lost things along the way, but it takes some to lose some. At the end of the film, I was worried that Eddie would go to the reformatory. Speaking up for a nation of kids who are just trying to help out their families and do what they have to to support themselves would never be easy. Especially when you're faced with a record that certainly would have you sent away. I'm glad the judge was written to be a man who is assertive yet understanding. After he said that Eddie was a threat to the streets, I couldn't help but get annoyed with him. These kids were working their butts off to even get the bare minimum. They hurt no one (who didn't deserve it). Once Eddie spoke from his heart, I think the judge understood were he was coming from. In his heart, he knew what it was like to be in their shoes. He knew he couldn't go against the law, but he still went out of his way to ensure the trio was going to start off on the right foot. By doing so, this film ending doesn't encourage putting these kids in jails when they're only trying to help. They know what they're doing isn't necessarily okay. They aren't getting into trouble without a reason. Normally, you think of this time period as a snooze-fest... whereas this plot within the time period feels like an adventure. Viewers aren't in the heart of a city, but following a trio of kids who hop trains and make a place for themselves in the world. The setting of the film is interesting yet simple to look at, and doesn't take away from the action. The camera work is great and not is harsh or distracting to the eye. Overall, this film brings light onto the reality of what was the Great Depression.
I Am a Fugitive from a Chain Gang (1932)
All because of a hamburger...
Paul Muni was thrillingly convincing in this film of crime and incarceration. Our main character, James Allen, was brought to life in a way I've never seen. Muni named every single emotion and went above the bar to drive the film's message home. It was a mesmerizing experience to watch his raw talent. You actually believed he was frustrated and determined to escape from the allegations. Not only that, but the cast who portrayed the men in the jail were phenomenal. The viewer is fully immersed into the terrifying and gloomy prison. The food looked more disgusting that described and all of the men were covered in months of dirt, sweat and grime. The scenery and setting of this film was beautiful and the attention to detail was interesting. As this was an early film of sound, I was impressed with the overall sound quality. We think of films today that have over 90s years of improvement with their skills as impeccable... but for a 1930's film this is quite impressive. Foley artists started to get their claim to fame during this time period too, and rightfully so. Even if I praise the sound of the film, there were moments when I saw faults. I will mention how I literally had to mute the film during the chase scene with the dogs because it was as though the sound editor ran a ten second track of dogs barking for the five plus minutes the chase ensued. It was painful to the ear. I also noticed how there was no perfect distinction of distance between James Allen and the dogs. While he was underwater hiding from the group, we should have been able to hear the dogs at least slightly. This isn't an important thing to have been constructed different, but rather, an observation of an already-flawed scene. Aside from the sound, I thought the score was just enough to push the intensity of the meat of the film. No beats were missed. We hurt for our main character, we held our breath alongside him and grew to admire how he kept his head up through such tough times. The character development within each body we met served a specific nod towards what we needed to see happen inside Allen. This film gives a pathway to the discussion of prosecution and the unbalance of justice which still exists today.
Safety Last! (1923)
If you're going to start watching silent films, you can start with this one!
Right off the bat, the humor that ensued immediately told me as a viewer that this was going to be no boring story. Although, I did feel like the movie jumped far too soon into the storyline. Normally, when I think of a film, there's at LEAST ten minutes, if not more (not included opening titles, etc.), where the audience gets some background information and is slowly climbing into the roller coaster ride. I feel like in this film, we automatically get onto the roller coaster without a safety speech and how to correctly put on the seatbelts. I soon left my worries behind as I watched countless trick after trick be played out by none other than Harold Lloyd himself. Some tricks were unpredictable while most were out of the blue and quite clever. I thought the score for the film was absolutely incredible. It felt as though every character or character duo had their own theme (proven by the drunk man towards the end of the movie when his screen time is accompanied by a certain style of music to give the affect that he's intoxicated). This observation lay outside of the pre-existing change of music as the score follows each scene. Not only this, but I found it impressive how much the film jumped back and forth between different stories. What I mean is, for example, we can see what happens between our main character and his boss and the shots cut back and forth. We can see different situations occurring at the end of the film as the climb takes place. This gives a sense that the viewer isn't immersed in just one branch of the scene. However, I found that the scene of the climb was painfully long. It can be argued that the film essentially led up to this moment, and you can't really skip parts and end up from the second floor to the fifth floor. Seeing different characters within the scene, like Bill and the cop, the drunk man, and Mildred helped break up the abundance of screen time Harold had. It had felt long and drawn out. The acting in this movie was capturing and entertaining, as they have to tell the story with expression, not their words. This movie felt more like an extended comic clip rather than a film, but the benefit of the doubt should be given because...well, it's an early silent film. Although it may be ahead of it's time from how I perceive silent films to be, there are still aspects that weren't fully developed or taken advantage of. Overall, even if my attention's grab faded away as the movie progressed, I was pleasantly surprised with the overall production and output of this film.