No 66 - Network

Su's Review- 6.1

After a year-long hiatus we’re back and our first movie off our list was “Network.” In my head I thought it was “Up Close and Personal” with Michelle Pfeiffer and Robert Redford. It was less rom-com than social commentary focusing on the exploitation of what’s hot by money conscious executives.

The movie went on far after its points were made leaving a good 30 minutes of film that should have been left on the proverbial cutting room floor. I disliked the character plot between Dunaway and Peter Finch, him leaving his wife for her and ending up back with her after a long drawn out affair that gave nothing to the film. The best part of the film lasted a few minutes when the terrorist a la Patty Hearst was less concerned with power to the people than ratings.

I think this movie is worth seeing but I'd probably be doing something else while watching it.

No 70- The French Connection

Su's Review- 4.2

Last night Billy and I took advantage that one of our 100 movies was on TV and settled in to watch The French Connection. We’ve been too busy to even watch our Love Film flicks recently so our little mission has fallen to the wayside a bit.

I don’t really have anything good to say about this film made the year my sister was born (which makes me realize how old my sister is). It was filled with every cop cliché like “This is the police. You’re surrounded. Come out with your hands up.” But then I think maybe this wasn’t yet a cliché and other films have imitated the FC.

Generally I like Gene Hackman like when he Lex Luthor in Superman or he was the preacher in The Poseidon Adventure, one of my favorite movies ever. But this role as Popeye was really bad. He didn’t have a single redeeming quality and the one person who stood up to him (the guy kept saying that the last time he had a hunch he got a cop killed) yeah well he killed him. He didn’t even take a second to say hmmm maybe that wasn’t such a good idea. And my god they made a sequel.

The only character that was fairly decent was Popeye’s partner Det. Buddy Russo aka the guy who killed Jaws. Russo stood by Popeye even though he kind of thought he was nutty but didn’t really want to say anything.

No 24- Raging Bull

Billy's review
Rating: 6.9

I have to admit, Raging Bull never really clicked with me first time round. The ring-side scenes are on par with Rocky and much of the story seemed to skip past without context. But, on second viewing, there’s definitely more depth to this Scorsese classic than I initially thought.

Of course, there’s one huge hook to this rags to riches to rags again tale of boxer Jake La Motta – it actually happened. And Robert Di Niro perfectly encapsulates both La Motta’s snraling drive towards the middleweight title and the self-pitying paranoia that confounds his ultimate demise.

Story-wise, it progresses along at breakneck speed, which helps build momentum but sometimes loses important detail, like the irreparable breakdown between La Motta and his brother, wonderfully played by the always exquisite Joe Pesci.

The film’s monochrome aesthetic certainly accentuates La Motta’s drink-affected road to ruin and there’s a wealth of strong performances to help ease you through a dark, nervy hour and a half of beautifully shot cinematography. Yet, much like the bullying, wife-beating deadbeat that La Motta eventually becomes, Raging Bull is difficult to love.


Su's Review
Rating: 3.2

Taxi Driver was a movie staple of my youth and has always had a firm place on my top 20 movies. A combination of Scorsese and DeNiro is naturally symbiotic and though I had never seen Raging Bull I knew I would like it based on their prior work. I was dead wrong.

I hated Raging Bull. Truly hated it. I didn't find Jake La Motta to be either an intriguing character or one that comes to be redeeming in the last act. DeNiro's La Motta was a flat interpretation of a control freak with low self-esteem. The scenes with La Motta and Vicky were cringe-worthy as the latter allowed herself to be steered by the sleazeball around the apartment ending in the bedroom. It was perverted, isn't she 15 after all?

The only part of the movie that was bearable was Joe Pesci's performance. Yes, my cousin Vinny really held it together.

The sound fading in and out felt like a amateur's attempt at adding depth to the movie by directing the watcher's attention to what the director deems important. This was the most disappointing aspect as I though Scorsese was better than that.

I was actually angry when this movie ended at how bad it was. I ended up painting my nails and knitting throughout it. Boo.

No 32 - The Godfather Part II

Billy's review
Rating: 6.9

Given the striding brilliance of its predecessor, The Godfather Part II often stumbles to produce the goods.

Lacking Marlon Brando’s stuffed-cheeked grandeur, the most lauded sequel in film history fails to weave a consistently gripping story. Of course, Al Pacino is enormous as the emotionally wrangled Michael Corleone, but the constant jittering between Godfather past and present suggests this is two films, rather than one.

Following his father’s death and his instalment as head of the family, Corleone negotiates his way around governmental crackdowns, family betrayal and the utter capitulation of his marriage with chilling aloofness. Juxtaposed against Corleone’s modern day travails is Robert De Niro’s portrayal of his father’s arrival in New York and the foundation of the family dynasty in Little Italy, giving background to the origins of organised crime on both sides of the Atlantic.

In terms of the Godfather story both are intriguing tales, but interspersing as one they lose momentum and soon become laboured, especially during the overly bloated and unnecessary focus on Michael’s business in Cuba.

Yes, it’s an essential follow up to the sublime original, but on its own The Godfather II often fails to hit such heady heights.

Su's Review
Rating: 5.2

I really couldn't fault the first Godfather movie, but I can't say the same for the sequel. I thought DeNiro was a good substitute for Brando, but he wasn't able to live up to the stature of the elder Godfather and I think this absence left a whole in the scenes.

Michael Corelone starts out strong and in charge and ends the film lonely and a still living in his father's shadow.

The flashbacks to the making of Vito Corleone could of been a film of its own and probably would have been more interesting than the whole of the second Godfather. The glimpses of the past were interesting but very oddly spaced throughout the movie.

Did Freido really need to die? Think about Anthony. Freido was his only friend and more of a father to him than Michael. I thought this was the downfall of Michael Corleone.

I truly have to wonder what kind of "offers they can't refuse" went on to get this flick onto the list because it definitely wasn't on its own merit.

No 3- The Godfather

Billy’s review
Rating: 9.3

You know, the older this film gets, the more refined it becomes.

Francis Ford Coppolo’s encapsulation of life in an organised crime empire gave birth to every aspect of modern mafia film: gangsters, guns, gals, double crossing, decapitated horses and good old fashioned Italian cooking.

But where modern incarnations overindulge in a tendency towards violence and philandering, The Godfather downplays guttural living for a more clandestine way of life.

Playing the part of Don Vito Corleone, Marlon Brando excels as an ageing Sicilian-born boss who’s capacity to out-think his rivals puts his family at the fore of the New York underworld.

The film’s focus on respect and accession is typical of today’s gangster genre, but the reluctant relationship between Corleone and his son Michael, immaculately played by a cherubic Al Pacino, develops in an entrancing fashion that’s never quite been recreated since.

This is, without doubt, the pinnacle of a genre that’s been exaggerated, overplayed and rung out to dry over the last 40 years. It makes you wonder just why anyone else bothered trying.

Su's Review
Rating: 8.3

I have never seen the Godfather before. I know it is hard to believe but it just never really appealed to me.

When I heard the film was 3 plus hours long I was a bit dubious. I was certain it would drag on similar to “Once Upon a Time in America” with prolonged wind-flute solos. Thankfully the movie moved along at a good pace and it wasn’t too confusing with the characters names.

Michael Correlone’s stay in Sicily was insightful as to how the family vendettas were a part of their ancestry and blood. When Michael asked Appolina’s father to see her it was funny to see him acting like his father. He was putting it on then, but by the end he was genuinely the Godfather.

This is the second movie I’ve seen with Talia Shire, which is funny since I think they are the only movies she’s ever been in. I didn’t even recognize Al Pacino and Diane Keaton in the beginning because I don’t think I’ve ever seen them so young. Knowing Diane, I thought it was a surprising role for her. It’s not quite Annie Hall or Baby Boom.

No 78 - Rocky

Billy’s review
Rating: 3.4

Despite my long-held childhood belief that Rocky was a boxing gem, the reality feels like a crushing blow to the head.

Sylvester Stallone’s role as the Italian Stallion Rocky Balboa may have tilted him into superstardom, but given the unfeasible plot, an insipid cast and probably the worst boxing scenes in cinematic history it’s difficult to see how.

The story is simple: A down and out local boxer fortuitously gets a shot at the world boxing title and almost wins it while stealing the heart of a shy local girl.

What’s not so easy is believing an uncultured brawler could quickly evolve as a heavyweight contender. Much of this distrust spawns from a lack of bridging between toothless Rocky and champing at the bit Rocky; what drives him is as unclear as much of Stallone’s garbled street talk.

Of course, the accompanying score is an adrenaline rush and Carl Weathers puts in a stellar showing as business savvy champ Apollo Creed. But scratch the surface for a deeper meaning and you’ll find Rocky is nothing but a Hollywood lightweight.

Su's Review
Rating: 2.0

Yo Adrian, It’s me, Rocky. To this Jason Schwartzman’s mum aka Adrian should of turned and ran away but instead she allowed him to southpaw her. Eww.

Rocky started out sloooow and ended far too quickly. I guess I shouldn’t expect a lot from a film that was written by the Italian Stallion himself. Between Rocky’s skivvy stalking of Adrian and his ever-worsening jokes, this character is just a dog instead of an underdog.

It took me a while to figure out that Apollo Creed was indeed hitting Rocky during the big fight in the ring and not just swatting at him. Apollo would swing and about five minutes later Rocky’s head would knock back. But the sound was the best. It keep cutting out the presenter and the fans and then all you would here was the fake punching sounds, which was just someone swishing into a microphone.

The ended left us very confused that we had to turn to Wikipedia to find out what really happened.

Bottom line. Whoever allowed this waste of emulsion to appear on this list deserves a fake swat from Apollo Creed.

No 75 - Dances with Wolves

Billy's review
Rating: 8.7

Phew. This is some movie. Somehow I’ve never seen Dances With Wolves, but I’m glad I finally managed to spare the three hours needed to relish this Civil War epic.

In the most engrossing performance of his career, film director Kevin Costner plays a decorated Union soldier who becomes increasingly imbued within the culture of a native Indian tribe.

Much of the story focuses heavily on the emotions that tremor through an indigenous people fighting for survival against an influx of white settlers. Of course, paralleling the Indians’ land-loving lifestyle next to the settlers’ brutal negligence of heritage and animals means you very quickly take sides.

But, there’s more here than just good guy bad guy. Much of the film explores how the different cultures handle the unknown: one with guns, the other with discussion.

How accurate it is, I’m not sure, but as a film that encapsulates the American Civil War Dances With Wolves is a powerful and moving affair.

Su's review
Rating 7.3

Boy does Kevin Costner like getting his hinny out in 90’s movies (remember the waterfall scene in Robin Hood).

Dances with Wolves is Costner’s best film, but I don’t know if it was because his acting was good or if the movie was so good it carried his acting. I wouldn’t say it’s the best movie I’ve ever seen but I liked insight into the Sioux tribal culture.

I hate that John Dunbar’s “best friends” the horse and the wolf are both killed by the end. Was that really necessary? I don’t mind dead people but do you really have to kill the nice animals. I guess they needed to show the vicious nihilistic attitude the “white men” carried for “lesser” races. Boo.

I love Graham Greene aka Kicking Bird. He has been on a ton of TV shows in the last decade but my favorite role of his was in Transamerica opposite Felicity Huffman’s woman playing a man playing a woman.

Overall it is a great movie but I think the subject, as a whole is better than one person’s performance.

No 15 - Star Wars: A New Hope

Billy's review
Rating: 8.4

Retreading the saga of Luke, Leia, Hans and the stormtroopers is a little like being a kid all over again. It’s strange to say it but George Lucas’s 1977 ‘classic’ hasn't aged in over 30 years.

Sure, some of the more ambitious special effects are a little Atari-like in comparison to modern day wonders, but this is still as believable and exhilarating as it was when I was a 7 year old cowering behind a pillow while an ice-cool Darth Vadar wheezed his way on screen.

Of course, A New Hope’s battle scenes takes centre stage – the whooshing light saber maul between Darth and Obi-Wan Kenobi will always set pulses raising – but the underlying themes of uprising against dictatorship and ancestral fate are what ties this fascinating space-age romp together, despite some particularly grating performances (hello Mark Hammill).

It was the film that ignited the imaginations of kids, and marketing departments, around the globe and even now it’s easy to see why.

Su's Review
Rating: 6.9

A few years ago, I was visiting my family in Florida and I was bored so I borrowed all the Star Wars movies from my nephew and watched them in order.

Star Wars confuses me. I am not afraid to admit it. The meaning of the broad plot is vague and not explained very well throughout. I think that the scenes move far too fast for someone who doesn't know the plot already. And seriously who thinks that Luke could master the force in one session!

I think that the effects have held up pretty well except the grid that Luke uses to aim the blasts that blow up the Death Star.

This is the first time that I understood that Obi Wan became the Force and didn't die. I have seen the scene many times but it was quite subtle. Obi Wan eludes to this before Darth Vader whacks him and Darth himself is quite befuddled by the pile of clothes.

No 62 - Tootsie

Billy's review
Rating: 4.5

How Tootsie made the list I’ll never know. It’s not that this gender-swapping, mildly titillating flick is a dull affair; it’s just there’s no particular hook past the obvious ‘struggling actor turns successful actress and falls in love with a female co-worker’ draw.

Admittedly Dustin Hoffman puts in a riveting shift, capturing both the feminine and masculine essences of his dual personalities with gusto. Likewise, Bill Murray makes light work of his supporting role as the dry-witted room-mate struggling to come to terms with Hoffman’s fake-bosomed transformation.

Besides these obvious stand outs, the rest of the cast struggles to add depth to a threadbare yarn - Teri Garr’s performance as the hapless Sandy Lester is particularly insipid. What’s most grating is that instead of exploring the fragilities of gender in the modern world, Tootsie merely skates around the edges.

What could have been an insightful articulation of human nature, sadly turns into a meek romantic comedy.

Su's review
Rating: 6.5

Tootsie is quintessentially 80’s, not like the Goonies or the Brat Pack Club flicks, but in a way it was new territory for the mainstream. In an era where women were fighting for equality and breaking those glass ceilings this movie was a bit conflicting.

It was the first mainstream take on cross-dressing. Not since Victor/Victoria or even Cabaret had there been a Transvestite on the mainstream silver screen. And the strength that Emily Kimberly projected against skivvy men was quite relevant in the time of red suits with massive shoulder pads. But the misogynistic message that only a man could do a better job as a woman than a woman could was patronizing.

But I take this movie for what it is: the only movie that Bill Murray is not funny in. but an overall 80’s classic.