[IndyPendence Day] Indiana Jones and the Raiders of the Lost Ark (1981)

Director: Steven Spielberg

Cast: Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, Denholm Elliot

Screenplay: Lawrence Kasdan

115 mins. Rated PG.

  • Academy Award Winner: Best Art Direction – Set Decoration
  • Academy Award Winner: Best Sound
  • Academy Award Winner: Best Film Editing
  • Academy Award Winner: Best Effects, Visual Effects
  • Academy Award Winner: Special Achievement Award
  • Academy Award Nominee: Best Picture
  • Academy Award Nominee: Best Director
  • Academy Award Nominee: Best Cinematography
  • Academy Award Nominee: Best Music, Original Score

IMDb Top 250: #48 (as of 6/25/2019)

 

What else would I watch on IndyPendence Day, right?

Indiana Jones (Harrison Ford, Witness, The Secret Life of Pets 2) is a professor and archaeologist known for acquiring various historical items of merit. Now he’s been tasked by the American government to find the missing Ark of the Covenant, a chest that contains the remains of the Ten Commandments, and an item he has a history with. He doesn’t know its location, but his former love Marion Ravenwood (Karen Allen, Starman, Year by the Sea) may know something. He has to work quickly, though, because a group of Nazis, led by rival archaeologist Belloq (Paul Freeman, Hot Fuzz, TV’s Absentia), are already on the search for Marion and the Ark, as Hitler believes the Ark to have mystical powers that may grant the Nazis an edge on their quest for global domination.

I actually got into Indiana Jones in my late teens because of Indiana Jones and the Kingdom of the Crystal Skull. When I heard there was going to be a new movie, I knew I had to see the other three first, because I’m a little insane that way. While Raiders of the Lost Ark is not my favorite of the four films, it’s a damn good introductory adventure to our heroic archaeologist and it set the blueprint for how to create an effective adventure under the crafting of director Steven Spielberg (Schindler’s List, Ready Player One), George Lucas, and screenwriter Lawrence Kasdan (The Big Chill, Solo: A Star Wars Story).

Harrison Ford is perfectly cast as Jones. It’s laughable now to even think of someone else like Tom Selleck, Nick Nolte, or even Steve Martin donning the fedora, even though they were all part of the lengthy list of potentials for the lead. He is excellent here, playing an otherworldly parallel to Han Solo, another crotchety character who thinks he knows everything. His chemistry with both love interest Karen Allen and also close friend Sallah, played by John Rhys-Davies (The Lord of the Rings: The Return of the King, Aquaman), are both exemplary.

What’s so great about introducing this film at this time is that so much of its iconography and recognizable pop culture occurs in the opening sequence. My wife had only seen Temple of Doom and Crystal Skull (the latter of which probably a decade ago), and after Indy takes on the fertility idol, she turned and asked what happens in the movie, assuming that the boulder and everything leading up to it was the plot of the movie. I hadn’t really thought about it, but it’s true.

Spielberg’s style, borrowed from pulp adventure novels, B-movies, and serials from his youth, elevated the material with a fun sense of style that integrated nicely without getting bogged down in silliness. He also wasn’t afraid to hit the violence hard. In fact, when I was younger, I remember a teacher showing us the violence in one of the sequences of the film. I cannot remember the reason for it, but we were supposed to count the number of violent acts that occur in the fight sequence, and it was a lot. To be honest, that’s one of the great things about the film. The hunt for the Ark is not an easy one for Indy or Marion, and it is their knowledge and skill that keep them going. Plus, Spielberg, Lucas, and Kasdan actually showcase their lead character’s intellect by having him skirt a few nastier situations in the film by using his brain power over his bullwhip and fist.

Indiana Jones and the Raiders of the Lost Ark is a nearly-perfect film which has aged extremely well (except for the age of Marion during her romantic entanglement with the archaeologist). It’s action, violence, and smarts make for a B-movie with an A-movie cast and crew. This is excellent adventure boiled down to its core.

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Steven Spielberg’s Close Encounters of the Third Kind, click here.

For my review of Steven Spielberg’s Jurassic Park, click here.

For my review of Steven Spielberg’s War of the Worlds, click here.

For my review of Steven Spielberg’s The Post, click here.

[#2018oscardeathrace] Lady Bird (2017)

Director: Greta Gerwig

Cast: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothee Chalamet, Beanie Feldstein, Stephen Henderson, Lois Smith

Screenplay: Greta Gerwig

94 mins. Rated R for language, sexual content, brief graphic nudity and teen partying.

  • Academy Award Nominee: Best Picture [Pending]
  • Academy Award Nominee: Best Director [Pending]
  • Academy Award Nominee: Best Actress [Saoirse Ronan] [Pending]
  • Academy Award Nominee: Best Supporting Actress [Laurie Metcalf] [Pending]
  • Academy Award Nominee: Best Original Screenplay [Pending]

 

I’ll be real here. I had no idea what Lady Bird was about. In fact, a small part of me thought it was a biopic about a certain famous First Lady. I had seen none of the promotional material, had heard nothing but the fact that it was a great movie. I’ve seen it twice now, and my opinion hasn’t changed.

Lady Bird McPherson (Saoirse Ronan, Brooklyn, Loving Vincent) is a rebellious youth experiencing her senior year in Catholic high school in 2002 Sacramento, California. The loose narrative follows Lady Bird’s senior year while exploring her strained relationship with mother Marion (Laurie Metcalf, Scream 2, Toy Story 3), father Larry (Tracy Letts, The Big Short, The Post), and best friend Julie (Beanie Feldstein, Neighbors 2: Sorority Rising). Lady Bird is a little lost in her life. Her attempts at romantic relationships aren’t turning out how she plans, she is receiving a lot of rejection letters from colleges, and the lies she is spinning to make new friends are about to unravel at the seams in this coming-of-age tale.

Lady Bird is an absolute delight. It’s not too often that I sit in the theater with a big damn joyful grin spread across my face for 90 minutes, but that’s what Lady Bird did to me. I found it to be one of the sweetest and emotionally-strong experiences I’ve had at the movies in a long time, and it’s filled with terrific performances. I loved Lucas Hedges (Manchester by the Sea, Three Billboards Outside Ebbing, Missouri) and Timothee Chalamet (Call Me By Your Name, Hostiles) as Danny and Kyle, two of the potential love interests in Lady Bird’s life.

Greta Gerwig (Nights and Weekends) wrote and directed this deeply personal tale of youth so well that I found pieces of my own experience all over the film. I saw pieces of my fiancé’s life in the film. I saw pieces of my friends’ life in the film. Gerwig doesn’t judge Lady Bird or condemn her for her bad experiences. In fact, she celebrates them. It’s a celebration of bad choices and learning, one that mothers and daughters should experience together.

Lady Bird is a perfect film. There isn’t a single thing I would change about it. I wanted to watch it immediately after finishing the film, and even now, I could sit through it again. This coming from writer/director Gerwig on her first solo outing behind the camera is excellent, and it makes her a force to be reckoned with as her career continues.

 

5/5

-Kyle A. Goethe

 

 

For more Almighty Goatman,

[Early Review] The Beguiled (2017)

Director: Sofia Coppola

Cast: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning

Screenplay: Sofia Coppola

93 mins. Rated R for some sexuality.

 

The Beguiled is the second adaptation of the 1966 novel A Painted Devil (rather than a remake of the 1971 film starring Clint Eastwood) and features Colin Farrell (Phone Booth, Fantastic Beasts and Where to Find Them) as a Civil War soldier taken in by Miss Martha (Nicole Kidman, TV’s Big Little Lies, The Hours) after he is found injured nearby. Miss Martha runs a girls’ school in Virginia, and Corporal McBurney is the first interaction many of the women have had with the war. Miss Martha is untrusting of the man and how quickly he gains the trust of teacher Edwina (Kirsten Dunst, Spider-Man, Hidden Figures) and the girls of the school. Miss Martha continues to remind him that he will leave as soon as he is healed and repeatedly threatens to turn him over to the Confederate Army. The house is very quickly altered by McBurney’s presence, bubbling with sexual tension and jealousy among the inhabitants until finally it takes a shocking and unexpected turn, putting them all in grave danger.

I had to really tiptoe around this synopsis as I dare not spoil the events depicted in this new film from Writer/Director Sofia Coppola (Lost in Translation, A Very Murray Christmas). I would also advise you to avoid trailers for the film as they give away a bit too much. Overall, I enjoyed The Beguiled much more than I expected to.

I’ll start with what I didn’t like about the film. First, the writing of Colin Farrell’s character. I love Colin Farrell when he gets it right. Sure, he’s had stumbles in his career, but when he nails it, he really nails it. And he is great in The Beguiled, but the manner in which his character is written doesn’t feel like a fully-formed arc. His performance is top notch but there isn’t enough screen time for us as viewers to accept the journey his character takes.

I also didn’t really like the ending. It felt almost too easy, and there’s a near-horrific plot point that gets brushed away too easily that would’ve made things more interesting. Overall, the ending does linger with you, but I think there could’ve been more to it.

Everything else in the film is amazing, most notably the incredible performance from Nicole Kidman. Coming off her Oscar-nominated performance in Lion, Kidman is chillingly cold as Miss Martha, a motivated and strong woman who takes charge of her situation. There’s a beauty to her performance with an underlying uneasiness, especially when she shares the screen with Farrell. The rest of the performances are great as well, but I want to recognize Elle Fanning (Maleficent, 20th Century Women) and Angourie Rice (who you may remember from last year’s The Nice Guys, if anyone else actually saw it) for their turns as members of the school. Both of these actresses give impressive turns in every film and The Beguiled is no exception.

Sofia Coppola became the second female director ever to win Best Director at Cannes (and hopefully we won’t wait 50 years for another), and The Beguiled is a worthy film of such an award. Its tension and drama is all based around its characters , usually a win for Coppola. The film stumbles rarely, but manages to pick itself up rather quickly and recover. It’s one of the better films I’ve seen this year, and it is worth your time to catch it when it expands to wide release this weekend.

 

4/5

-Kyle A. Goethe

[Extraterrestrial Abductions Day] Close Encounters of the Third Kind (1977)

Director: Steven Spielberg

Cast: Richard Dreyfuss, Teri Garr, Melinda Dillon, Francois Truffaut

Screenplay: Steven Spielberg

137 mins. Rated PG.

  • Academy Award Winner: Best Cinematography
  • Academy Award Winner: Special Achievement Award for Best Sound Editing
  • Academy Award Nominee: Best Actress in a Supporting Role [Melinda Dillon]
  • Academy Award Nominee: Best Director
  • Academy Award Nominee: Best Art Direction – Set Decoration
  • Academy Award Nominee: Best Sound
  • Academy Award Nominee: Best Film Editing
  • Academy Award Nominee: Best Effects, Visual Effects
  • Academy Award Nominee: Best Music, Original Score

 

With today being Extraterrestrial Abductions Day, I wanted to look back at a Steven Spielberg (Saving Private Ryan, The BFG) film that I didn’t have much exposure to: Close Encounters of the Third Kind. I didn’t see the film until after college, and I didn’t recall liking it very much. So, today, I thought, let’s give it another try.

Roy Neary (Richard Dreyfuss, Jaws, Madoff), an electrical lineman in Indiana, is forever changed after he experiences a close encounter with an unidentified flying object while investigating an outage. He develops a thirst to discover exactly what he witnessed that consumes him entirely, causing rifts in his marriage to wife Ronnie (Teri Garr, Tootsie, Aloha, Scooby Doo!) and his children. Roy’s search for answers takes him across the country where he meets Lacombe (Francois Truffaut, The 400 Blows, The Green Room), a French scientist also enamored with the possible discovery of alien life.

My frustrations with Close Encounters of the Third Kind do not lie on the technical side of things. I happen to find the visuals and sound design to be superb, some of the best put to film (coincidentally, the film was released the same as the original Star Wars, which nabbed a number of technical awards at the Oscars). I enjoyed the performances from Dreyfuss and Melinda Dillon (A Christmas Story, Reign Over Me) as Jillian, a single mother who shares in Roy’s journey for answers.

My issues, though, come from Spielberg’s screenplay and how he chose to direct it. Roy does some pretty shitty things in the film, he isn’t a character I like or feel for, and yet Spielberg chooses to give the film such a light-hearted tone. It’s as if to say to his audience, “Look at this funny guy pushing his family away! My, isn’t he strange?” It just didn’t work for me. I want to feel for him and what this journey is doing to him, but I don’t.

Close Encounters of the Third Kind is a beautiful film, one that furthers the abilities of the artist with its progressive sound design and visual effects, but I just didn’t like the emotional arcs of the characters. An impressive technical marvel to this writer, but one without true substance.

 

2.5/5

-Kyle A. Goethe

 

 

For my review of Steven Spielberg’s Jurassic Park, click here.

For my review of Steven Spielberg’s War of the Worlds, click here.

[Happy 75th Birthday!] Citizen Kane (1941)

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Director: Orson Welles

Cast: Orson Welles, Joseph Cotton, Dorothy Comingore, Everett Sloane, Ray Collins, George Coulouris, Agnes Moorhead, Paul Stewart, Ruth Warrick, Erskine Sanford, William Alland

Screenplay: Herman J. Mankiewicz, Orson Welles

119 mins. Not Rated.

  • Academy Award Winner: Best Writing, Original Screenplay
  • Academy Award Nominee: Best Actor in a Leading Role [Orson Welles]
  • Academy Award Nominee: Best Picture
  • Academy Award Nominee: Best Director
  • Academy Award Nominee: Best Cinematography, Black-and-White
  • Academy Award Nominee: Best Art Direction-Interior Decoration, Black-and-White
  • Academy Award Nominee: Best Sound, Recording
  • Academy Award Nominee: Best Film Editing
  • Academy Award Nominee: Best Music, Scoring of a Dramatic Picture

IMDb Top 250: #67 (as of 5/1/2016)

 

Wow, 75 years. Hard to believe that Citizen Kane, named by many as the greatest film of all time, is 75 years old. A classic by many means, I took the opportunity today to re-experience this film again and showed it to a couple of first-timers in the hopes of teaching them something about the history of film, and I got to witness this film again as if for the first time. Here we go.

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Citizen Kane covers the death of Charles Foster Kane (Orson Welles, Touch of Evil, F for Fake), a now reclusive businessman and public figure, and a man trying to understand the mystery surrounding him. Jerry Thompson (William Alland, Revenge of the Creature, The Deadly Mantis) sets out to interview Kane’s family and estranged friends to unearth the meaning behind his last words. As Thompson uncovers more and more of Kane’s past in an effort to understand the man, he finds a shocking tapestry of sadness and a man who pined for power but found himself none the happier for it. From firsthand accounts by Kane’s second ex-wife Susan Alexander Kane (Dorothy Comingore, Prison Train, The Big Night), his closest friend Jed Leland (Joseph Cotton, The Third Man, Shadow of a Doubt), and business partner Mr. Bernstein (Everett Sloane, The Lady from Shanghai, Someone Up There Likes Me), Thompson finds more questions than answers in his attempt to find the mysterious Rosebud.

Director, star, and screenwriter Orson Welles delivered his first feature film with Citizen Kane, a movie that slipped into obscurity after initial release only to late resurface due to praise from French critics. Though it was nominated for nine Academy Awards, it only won for its screenplay, a top notch work from Welles and Herman J. Mankiewicz.

The idea of opening with a newsreel covering the finer points of Kane’s life really helps to contrast the public view of Kane with the truth Thompson discovers later on. The film becomes a mystery of its own, not just for Rosebud, but for the myth behind the man.

Welles’ first picture also holds the distinction of having mostly newcomers to the filmmaking process, or those without much background, and much like the more recent direction from filmmakers like Quentin Tarantino, Welles displays his cast for the screen, allowing them time to fully explore the character and give a nuanced performance. I’m speaking particularly about Welles himself, Cotton, Sloane, and Agnes Moorehead (TV’s Bewitched, The Magnificent Ambersons), who played Kane’s mother in an early flashback.

Some of the viewers I introduced to Citizen Kane kept asking the same questions. What makes this the greatest film of all time? I had to answer that much of what they were seeing had never been done before and pioneered the filmmaking process. The music, storytelling with framing device, and gorgeous cinematography tackled new frontiers, many of which are still used today, but we take them for granted now.

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Citizen Kane is an excellent example of how to tell a story in Hollywood. It remains one of the most intellectual and beautiful films of all time. Welles was given freedom to do whatever he wanted and have final cut, an ability few have ever been given. He chose to tell the story of a titan, a mogul, based in part on the life of William Randolph Hearst, but in many ways, the film transcends even that to present a stunning portrayal of regret, sadness, and guilt that carries through even now. I suggest this film to anyone looking for a step into the history of filmmaking.

 

5/5

-Kyle A. Goethe

31 Days of Horror Part II: Day 5 [Oscar Madness Monday] – The Silence of the Lambs (1991)

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Director: Jonathan Demme

Cast: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine

Screenplay: Ted Tally

118 mins. Rated R.

  • Academy Award Winner: Best Picture
  • Academy Award Winner: Best Actor in a Leading Role [Anthony Hopkins]
  • Academy Award Winner: Best Actress in a Leading Role [Jodie Foster]
  • Academy Award Winner: Best Director
  • Academy Award Winner: Best Writing, Screenplay Based on Material Previously Published or Produced

iMDB Top 250: #23 (as of 10/5/2015)

 

This year, I wanted to ensure that I presented you with top-tier fear and what better way to do that than merge Oscar Madness Monday with the 31 Days of Horror and present Jonathan Demme’s 1991 masterpiece The Silence of the Lambs.

Anthony Hopkins as Dr. Hannibal “The Cannibal” Lecter in the 1991 film “Silence of the Lambs.” Photo Courtesy: MGM Home Entertainment

Clarice Starling (Jodie Foster, Elysium, Carnage) has been tasked with completing a psychological profile on the infamous serial killer Dr. Hannibal Lecter (Anthony Hopkins, Thor, Noah) and, without her knowledge, discover his possible connection to the new killer nicknamed “Buffalo Bill” in the process. Clarice is naïve and accepts the responsibility, unwittingly placing herself within a game of wits and murders with the two serial killers. Dr. Lecter develops a wanting to help Starling, and Clarice as well as Jack Crawford (Scott Glenn, The Bourne Ultimatum, Sucker Punch) take the opportunity to hunt the elusive Buffalo Bill before he claims his newest victim.

The Silence of the Lambs is one of three films in the history of the Oscars to win the Big Five, and deservedly so. This film is staggering and cold. When my girlfriend and I were revisiting it, we couldn’t stop developing shivers and chills before the most disturbed sequences occurred, as though we were prepping for them. It didn’t help, as large sections of the plot are unnerving and difficult to view. In that, however, we get some excellent performances from a seasoned and respectable cast including Jodie Foster, a cold and untrusting Clarice who wishes to further her career by proving her worth, and Anthony Hopkins owns the role originally performed by Brian Cox in Michael Mann’s Manhunter. Lastly, the work by Ted Levine (Shutter Island, Little Boy) as the unhinged killer is absolutely unsettling in all its madness.

The film is a slow burn, but at no point was I bored. The pacing set up by director Jonathan Demme (Philadelphia, Ricki and the Flash) and screenwriter Ted Tally (All the Pretty Horses, The Juror) slithers through this dark and sad landscape of disorder, landing on a finale that is pulse-pounding to the very core.

The Silence of the Lambs (1991) Blu-ray Screenshot

The Silence of the Lambs is one of those films that lands on many lists of Best Films Ever Made, and it should be. Just about every aspect of the production was critiqued and perfected by the veteran cast and crew, resulting in one of the most unforgettable movie experiences you will ever have. See it.

 

4.5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

[Freedom Films] Rocky (1976)

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Director: John G. Avildsen

Cast: Sylvester Stallone, Talia Shire, Burt Young, Carl Weathers, Burgess Meredith

Screenplay: Sylvester Stallone

119 mins. Rated PG.

  • Academy Award Winner: Best Picture
  • Academy Award Winner: Best Director
  • Academy Award Winner: Best Film Editing
  • Academy Award Nominee: Best Actor in a Leading Role (Sylvester Stallone)
  • Academy Award Nominee: Best Actress in a Leading Role (Talia Shire)
  • Academy Award Nominee: Best Actor in a Supporting Role (Burgess Meredith)
  • Academy Award Nominee: Best Actor in a Supporting Role (Burt Young)
  • Academy Award Nominee: Best Writing, Screenplay Written Directly for the Screen
  • Academy Award Nominee: Best Sound
  • Academy Award Nominee: Best Music, Original Song “Gonna Fly Now”

iMDB Top 250: #213 (as of 1/18/2016)

 

Today, on Independence Day, we look back on American Films about America. We will be taking some time to look at Rocky, the 1976 Best Picture winner, in this limited series of reviews during major American holidays. Rocky is the first sports film to win Best Picture. It also holds the distinction of being the Best Picture with the most sequels, six as of this year’s upcoming spin-off Creed. In 1975, Sylvester Stallone (The Expendables, Grudge Match) had less than $200 in his bank and not enough money to feed his dog. He believed in his screenplay and vision so much so that when the script was purchased, he gambled his career on the bet that he could perform. When casting Apollo Creed, Carl Weathers (Predator, The Comebacks) was hired when he made a crack about Stallone’s inability to act. Ironically, Weathers didn’t receive an acting nomination but Stallone did.

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Rocky Balboa (Stallone), also known as The Italian Stallion, is a southpaw boxer who hasn’t had luck in life. He boxes when he can, but in order to make ends meet, he has to hustle for a loan shark. He can’t seem to get closer to the woman he cares for, Adrian (Talia Shire, The Godfather: Part II, Palo Alto), and his closest friend is a drunk named Paulie (Burt Young, Once Upon a Time in America, Rob the Mob), who happens to be Adrian’s brother. But when Apollo Creed, the heavyweight champion of the world, needs a gimmick for his upcoming New Year’s Day fight, he calls upon the little guy, The Italian Stallion, Rocky Balboa himself. Now, with the help of aging manager Mickey (Burgess Meredith, Grumpier Old Men, Santa Claus), Rocky is going to try and take on the biggest boxer in the business and seize his chance at being a somebody in this film from director John G. Avildsen (The Karate Kid, 8 Seconds).

Rocky is a great sports film, one of the greatest ever. Director Avildsen gives his greatest work as a filmmaker here, ably controlling several variable factors to make a compelling character piece. I think what makes it such a strong and moving film is the likable underdog in Rocky, written and played well by Stallone, and the focus on creating interesting characters first and foremost and keeping the focus on them over the actual sports moments. It’s just like how the best war films are about great characters experiencing war. Stallone and Avildsen worked well together to fix issues as they came up, with Stallone writing scenes like the one where Rocky points out the mistake on his shorts the night before the fight or him calling out the oversized robe. These scenes were added due to production errors but because of the partnerships, you’d never notice. Well, I guess now you would.

We also get great work from Shire, Young, and especially Meredith, who gives a performance that only seems cliché because of how many films copied it later. I even really loved Weathers as Creed even if he didn’t get the nomination.

The terrific score from Bill Conti is the stuff of legend, a piece of musical brilliance imitated but rarely met. The Academy Award Nominee song “Gonna Fly Now”, also known as the Rocky Theme, stands with it as a franchise signature.

Rocky suffers from some uneven cinematography not counting the fight scenes, which are top notch.

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So is Rocky the best film in the series? Yeah, I suppose so, but I do enjoy watching it in conjunction with the sequel, Rocky II. In fact, I love the Rocky series in general, with the notable exception of Paulie dating a robot in Rocky IV (still a great film, but I mean…c’mon…). Rocky is, from a technical sense, a great film with an ending that challenges the conventions of most other similar films. See this one, and love it.

 

4.5/5

-Kyle A. Goethe

 

The Lord of the Rings: The Return of the King (2003)

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Director: Peter Jackson

Cast: Elijah Wood, Ian McKellan, Viggo Mortensen, Liv Tyler, Seas Astin, Cate Blanchett, John Rhys-Davies, Bernard Hill, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Miranda Otto, David Wenham, Karl Urban, John Noble, Andy Serkis, Ian Holm

Screenplay: Fran Walsh, Philippa Boyens, Peter Jackson

201 mins. Rated PG-13 for epic intense battle sequences and frightening images.

  • Academy Award Winner: Best Picture
  • Academy Award Winner: Best Director
  • Academy Award Winner: Best Writing, Adapted Screenplay
  • Academy Award Winner: Best Film Editing
  • Academy Award Winner: Best Art Direction – Set Decoration
  • Academy Award Winner: Best Costume Design
  • Academy Award Winner: Best Makeup
  • Academy Award Winner: Best Music, Original Score
  • Academy Award Winner: Best Music, Original Song (“Into the West” by Fran Walsh, Howard Shore, Annie Lennox)
  • Academy Award Winner: Best Sound Mixing
  • Academy Award Winner: Best Visual Effects

 

After pouring years of his life into an ambitious project, director Peter Jackson (The Lovely Bones, King Kong) finally saw his vision receive the recognition it deserved after winning 11 Academy Awards (making it the most nominated franchise in history), tying the record. The Lord of the Rings: The Return of the King was the final chapter in the trilogy based on Tolkien’s novels, and indeed one of the greatest films ever crafted. Equal parts grandeur and tragic masterpiece, our third trip to Middle-Earth.

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Frodo (Elijah Wood, Eternal Sunshine of the Spotless Mind, Cooties) and Sam (Sean Astin, TV’s Teenage Mutant Ninja Turtles, The Goonies) have gotten back on the path to Mount Doom, with Gollum (Andy Serkis, Rise of the Planet of the Apes, Arthur Christmas) in tow, though Gollum’s path is becoming increasingly more treacherous. Is he leading them down a trap?

Meanwhile, Gandalf (Ian McKellan, X-Men: Days of Future Past, The Prisoner) and Pippin (Billy Boyd, Master and Commander: The Far Side of the World, Dorothy and the Witches of Oz) are heading to Minas Tirith to warn the Steward of Gondor, Denethor (John Noble, TV’s Fringe, Superman: Unbound), of the war that is on his doorstep. The only problem, Denethor, who also happens to be father to Boromir and Faramir (David Wenham, 300, Legend of the Guardians: The Owls of Ga’Hoole), has grown insane and weary in grief over the loss of his favorite son.

This is a spectacular film achievement, visually perfect in every way. The performances are stellar. The plot interweaves and closes off all loose ends. The cinematography is sweeping, epic in scope, and perfectly crafted.  The film’s 200-minute runtime goes by smoothly, not a moment to stop and catch one’s breath. Even the visual effects have not aged in the dozen years since its release. The film even contains the largest prop ever built for a motion picture in a battle sequence containing giant creatures called oliphaunts.

The film features another wonderful battle sequence overcut with Pippin singing a song to the eating Denthor. It is beautiful and chilling and everything that this series is all at once.

As a note to casual fans at the completion of this review for The Lord of the Rings trilogy, check out the extended editions. As terrific as the theatrical cuts are, the extended films are the supreme version of the story. They feature cameos and performances not seen in the previous incarnations, such as The Mouth of Sauron, a wholly chilling character unfortunately cut from the film.

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The Lord of the Rings: The Return of the King is perhaps the greatest fantasy achievement in filmmaking that we will ever see. It excels on every level and continues the tradition of high-fantasy movies in a glorious fashion. I doubt we will see an equal for a very long time.

 

5/5

-Kyle A. Goethe

 

For my review of Peter Jackson’s The Hobbit: An Unexpected Journey, click here.

For my review of Peter Jackson’s The Hobbit: The Desolation of Smaug, click here.

For my review of Peter Jackson’s The Hobbit: The Battle of the Five Armies, click here.

 

For my review of Peter Jackson’s The Lovely Bones, click here.

[Star Wars Day] Revenge of the Sixth…Star Wars: Episode IV – A New Hope (1977)

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Director: George Lucas

Cast: Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness

Screenplay: George Lucas

121 mins. Rated PG for sci-fi violence and brief mild language.

  • Academy Award Winner: Best Art Direction – Set Decoration
  • Academy Award Winner: Best Costume Design
  • Academy Award Winner: Best Sound
  • Academy Award Winner: Best Film Editing
  • Academy Award Winner: Best Effects, Visual Effects
  • Academy Award Winner: Best Music, Original Score
  • Special Achievement Academy Award: Ben Burtt [For sound effects (For the creation of the alien, creature and robot voices)]
  • Academy Award Nominee: Best Picture
  • Academy Award Nominee: Best Actor in a Supporting Role [Alec Guinness]
  • Academy Award Nominee: Best Director
  • Academy Award Nominee: Best Writing, Screenplay Written Directly for the Screen

iMDB Top 250: #20 (as of 1/18/2016)

As we close Star Wars Days 2015, we end on the original film in the Saga, Star Wars: Episode IV – A New Hope, from director George Lucas (American Graffiti, THX 1138).

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In A New Hope, it has been 19 years since Luke Skywalker (Mark Hamill, Kingsman: The Secret Service, Scooby-Doo!: Moon Monster Madness) was dropped off with his uncle and aunt on Tattooine. When the two droids C-3PO and R2-D2 come into his family’s possession, Luke gets swept up in R2’s mission to deliver a message from the captive Princess Leia Organa (Carrie Fisher, When Harry Met Sally…, Maps to the Stars) to the crazy hermit Ben Kenobi (Alec Guinness, Lawrence of Arabia, The Bridge on the River Kwai). When Luke discovers that his father knew Kenobi long ago and is gifted his father’s lightsaber, he is set on a quest to save the princess and defeat the Empire.

The original film is still a perfect fantasy/sci-fi masterpiece with great performances, terrific direction, and a nice smooth flow. The special effects still look great (I’m referring to the original special effects, not the Special Edition effects).

Harrison Ford (Indiana Jones and the Raiders of the Lost Ark, The Age of Adaline) absolutely steals the show as Han Solo, who, alongside his trusty co-captain Wookiee Chewbacca, are hired to assist Luke and Kenobi in rescuing the princess. They are aided by a believable group of performances from a talented cast of newcomers like Hamill and Fisher as well as veterans Guinness and Peter Cushing (Horror of Dracula, The Curse of Frankenstein) as the villainous Grand Moff Tarkin.

This is the pinnacle of Lucas’ abilities as a filmmaker. His terrific screenplay and his inability to give up when faced with countless problems directing the picture proved him to be a truly captivating artist with a unique vision.

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Star Wars: Episode IV – A New Hope remains a perfect film, one of the best ever put to the screen. It has become a pop cultural rock, unable to be moved from the public eye in the 38 years since its release, and I doubt it will ever truly disappear. Perfection.

5/5

-Kyle A. Goethe

For my review of George Lucas’ Star Wars: Episode I – The Phantom Menace, click here.

For my review of George Lucas’ Star Wars: Episode II – Attack of the Clones, click here.

For my review of George Lucas’ Star Wars: Episode III – Revenge of the Sith, click here.

For my review of Irvin Kershner’s Star Wars: Episode V – The Empire Strikes Back, click here.

For my review of J.J. Abrams’ Star Wars: Episode VII – The Force Awakens, click here.

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