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Oh my god, is Owen Wilson gonna be a huge star or what? This weekend, millions of people who have never seen Bottle Rocket, have never heard of Wes Anderson, and have no idea that Wilson is a screenwriter of no small talent will be cheering on an Owen Wilson who channels the spirit of Steve McQueen while kicking some collective Bosnian ass and being all that he can be. Cuz Bruce Willis is gettin’ too old for this shit, I guess.
There are some serious gaps in my film education, I’m sorry to admit, but one of those gaps was recently filled when I saw *Apocalypse Now* for the first time.
I’ve seen Gladiator half a dozen times now — thrice on a big screen and thrice on DVD — and it gets me deeper in the gut every time: By the time Maximus whispers his final words, assuring Lucilla that “Lucius is safe,” I’m starting to sniffle. By the time Juba is reverently burying Maximus’s totems of his wife and son, I’m bawling.
What is *The Third Man* is no great mystery: it’s one of the greatest expressions of the noir attitude ever committed to film.
Is Gladiator an action movie? Is it an historical drama? Is it a sweeping epic? Yes. Like The 13th Warrior, this is a thinking person’s action movie. Like Braveheart, this is a story of a brutal era told with stunning realism. Like Terminator 2, this is a violent movie that indicts our appetite for violence. Like The Matrix, this thrills on both a visceral and cerebral level.
This is a geeky rehashing of The Phantom Menace, after a summer of six viewings of the movie and endless debates and discussions with other fans and friends in person and via e-mail…
What can I possibly say about *Star Wars* that hasn’t already been said a hundred times? George Lucas’s modern fairy tale must be one of the most discussed, most analyzed films of the century…
Honestly, I’d pay cash money to see either Liam Neeson or Ewan McGregor on his own read from the phone book, and the two of them together is almost too delicious to bear.
Haunting and enthralling, The English Patient is a scrapbook of another world, of romance and adventure and tragedy, jumbled out of sequence.
Braveheart has a primal, visceral power — as when Wallace, in the aftermath of a battle, stands over the carnage he’s wrought and screams in victory, nostrils flaring — that strikes straight to the heart of any warm-blooded Celt, or indeed anyone who values freedom and human dignity.
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