1001 Movies You Must See Before You Die- Schindler's List

#894- Schindler's List (1993)
Starring: Liam Neeson, Ben Kingsley, Ralph Fiennes
Directed by: Steven Spielberg


Plot Summary: In 1939, the Germans move all Polish Jews into the Krakow Ghetto as World War II begins. A member of the Nazi Party, businessman Oskar Schindler arrives in the city and through bribes is able to acquire a factory to produce enamelware. Schindler seeks the aid of Itzhak Stern to help run his business, while also maintaining a friendly relationship with the Nazis. In an effort to be more cost effective, Schindler hires Jewish workers, with Stern securing as many workers as possible to ensure they aren't sent to the concentration camps to be killed. When a new concentration camp is built, Second Lieutenant Amon Goeth orders the Ghetto to be liquidated, with Schindler seeing many Jewish people hunted down and killed. Affected by the extermination in the Ghetto, Schindler moves his focus from making money to saving lives, while also keeping his friendship with Goeth at a distance. After being charged with a huge bribe from Goeth, Schindler and Stern create a list of people to be transferred to Brinnlitz, thus saving them from being shipped to Auschwitz.


It kind of sucks to end the year on such a sorrowful note, but there had to be a time when I approached Schindler's List and I thought now would be as good a time as any to cover it. This movie was a serious game changer for Steven Spielberg, covering the tragedy of the Holocaust and Oskar Schindler's attempts to save the lives of Polish-Jewish refugees. I saw this film last year when I was in film class, as a project to rank Spielberg's best pictures and it found its way near the very top of the list. However, I will blatantly acknowledge it's not a film I would go out of my way to watch over and over again. That's not saying it's bad, don't get me wrong. The problem is in the film's content, which can range from visually stunning to completely disturbing. Still, it can't be denied that Schindler's List is a masterpiece of filmmaking and will go down as one of the greatest movies in Spielberg's legendary career.

Liam Neeson stars in the iconic role of Oskar Schindler. At the time of production, Neeson was cast because he wasn't the star he was today. When actors like Kevin Costner and Mel Gibson auditioned for the role, Spielberg chose Neeson so audiences wouldn't be distracted by the star power of an A-list actor. Nowadays, he's known for Taken and stuff like that, but this was his big breakout role. Schindler doesn't exactly start out as the hero we're expecting. He's cocky and flashy and flaunts his wealth and status around. It's only through the events of the Holocaust that he is actually driven to do something meaningful to rescue the Jews. As you see him transition, you really grasp onto him and find him likable. You see his generosity prosper and a good person is developed. One of the film's biggest highlights is near the end where Oskar completely breaks down in awe of what he has accomplished and still believes that he hasn't done enough. It's moments like that that really prove Schindler's worth as the film's hero. Even more fascinating is how he's able to do all these things while being so close to the Nazis, making him look like a mastermind and the Nazis look like complete schmucks.

Schindler does a lot of the outside work though. The real MVP of the Holocaust in this film should be Itzhak Stern, played by Ben Kingsley. Stern assists Schindler on all his decisions during this time and is even thrown into a lot of the peril of the Holocaust. He's a pair of eyes within the concentration camps, and you can see the personal hell he is undergoing, and you can only imagine how many actually suffered during this time. Kingsley does a good job at playing Stern as both meek and stubborn when he needs to be. We mostly see him meek during the Holocaust, but he holds his own very well alongside Schindler, and even gets mouthy and sarcastic. As the film progresses, you can definitely see and partnership and friendship develop between the two and it's very rewarding to see since both have undergone the same tragic events, just from different points of view. In the end, Itzhak Stern should receive as much credit as Schindler for actually undergoing personal sacrifice for the safety of his people.

If you thought Ralph Fiennes was a crazy and psychotic villain as Lord Voldemort, you ain't seen nothing yet. As Second Lieutenant Amon Goeth, Fiennes plays an absolutely fascinating character. Goeth is so charismatic, yet so diabolical in his actions. There are so many times where you cannot hold the man to his word because he will say one thing to the Jews and do another. There's an actual scene (the "I pardon you," scene) where Goeth is told by a young boy (looks to be teenage) that he failed to do a task, he pardons the boy, sends him on his way, and then shoots him anyways. WHAT THE HECK?!!?!? But the worst is when he has a fixation towards a Jewish woman Helen Hirsch, played by Embeth Davidtz. He treats this woman like garbage, objectifies her, and is constantly battling his feelings for her. Can you say HYPOCRITE!?!?! There's no method to his madness, and the worst part of it all....is that there is STILL something engaging about his character. Whether you love to hate him, or just straight up hate him, Amon Goeth is definitely a character that you will leave this film remembering.

If you've seen Schindler's List before, or are watching it as you read this review, you're probably feeling REALLY uncomfortable about what you're seeing right? That's because Spielberg does such an amazing job of creating an atmosphere that sticks the audience right in the middle of the Holocaust. The events that play out for the next 3 hours are absolutely gruesome and really opened a lot of eyes to the horrors of the Holocaust. I'd rather not go into detail for two reasons: the first being I try my best to avoid spoilers unless absolutely necessary (and it isn't here), and the second being that there are too many shocking scenes to choose from that I wouldn't know where to start. I will take the time to point out one little factor that helped create atmosphere: color. As you can see, the film is primarily in black and white. Yet here, we see a little girl in a red coat. That's there for a reason. Without giving too much away, Schindler sees this girl early on in the film, and sees the coat again later (make of that what you will). From there, it's really the turning point for Schindler as a character. It motivates and kicks him into a higher gear to save as many Jewish people as he can. It's through the color of this coat that the events finally begin to feel real to him. The coat is also the subject of many discussions over its true symbolism, ranging from innocence, to the blood spilled during the Holocaust, to Spielberg's social commentary of how the United States knew about the Holocaust and did nothing to stop it. Whatever the reason, the use of color is definitely one of the film's most iconic qualities for setting the proper tone.

Schindler's List really elevated Spielberg's game to being a more serious director than previously credited for. At this time, we knew him mainly for his sci-fi and fantasy films. So along comes such a gritty and enticing depiction of one of the darkest periods in history, that it stuns audiences and critics. The film was considered a cinematic accomplishment that won Spielberg his first Academy Award for Best Director, as well as winning Best Picture, Best Adapted Screenplay, Best Art Direction, Best Cinematography, Best Film Editing, and Best Original Score. Needless to say, the film was considered a huge success. It is from this point onward that Spielberg was able to make both his whimsical family films, as well as compelling historical dramas. Without Schindler's List, we would never have War Horse, or Saving Private Ryan, or Lincoln (we'll get to those two next month). You can only imagine at the time how surreal it must have been for audiences to witness the man who made E.T. releasing an epic Holocaust drama. I hope no parents saw his name attached and thought it was a family picture.


Rating: 5 out of 5 stars

There aren't many films like this that can generate so many responses from me as a viewer. It's beautiful and disturbing, tragic and epic, inspiring and deflating all at once. With over 3 hours in length, Schindler's List isn't the kind of film I would imagine general moviegoers watching over and over again, but it is definitely worth watching at least once by everyone who considers themselves a movie buff. Bonus points if you make out during it and don't feel bad about yourself (and if you don't get that Seinfeld reference...I pardon you).

Schindler's List and movie images are copyrighted by Universal Pictures

1001 Movies You Must See Before You Die- War Horse

#1145- War Horse (2011)
Starring: Jeremy Irvine, Emily Watson, Peter Mullan
Directed by: Steven Spielberg


Plot Summary: A young colt is bought at an auction by Ted Narracott for 30 guineas. Spending more money than he had trying to outbid his landlord Mr. Lyons, Ted and his family must now come up with enough money to pay the rent on their farm. Ted promises Lyons that he will meet the deadline and plans to use the horse to plow his entire turnip field by autumn. The horse is too young and energetic to train, so Ted leaves the horse in the care of his son Albert. Albert forms a deep connection with the horse and names it Joey. They are able to plow the field by the deadline, but a treacherous rain storm leaves their crops ruined. With the start of World War I, Ted has no choice but to sell Joey to the war effort. Since Albert is too young to enlist in the war, he cannot accompany his pet into battle, but Captain James Nicholls, the officer Joey is sold to, promises Albert that Joey will be taken care of and hopefully returned to his owner when the war ends.


When I was getting ready to watch War Horse, I had the WRONG perception of the film. I kept saying, "My Christmas review is going to be on a film about a boy and the bond he has with his horse." Needless to say, that was a very close minded view on a much deeper concept. True, there is an established relationship between a young man and his horse, but it doesn't end there. They're actually split up by the events of World War I and the audience spends more time following the horse on his journey during all these little adventures. Since the film plays out like an anthology of events in the life of the horse named Joey, I'm going to focus on the events of those stories and the characters in those stories, making this review a little more unique than my usual format of "main character this, supporting character that, music this, settings that, legacy this..etc." While a little long in time, it seems to fly by with all these stories and I'm sure most of you will find some of the subplots in War Horse more compelling than the others. I know I did.

During the early point in Joey's life, we not only see his developing relationship with his owner and trainer Albert Narracott, played by Jeremy Irvine, but we also see Albert's relationship to his family. The bond between Albert and Joey is obvious and what the audience would come to the movie to see, but what really had me compelled in the first act of the film was the strained relationship Albert has with his father Ted, played by Peter Mullan. What keeps the son estranged from his father is his father's drinking habits. His mother Rose, played by Emily Watson, whom he does have a strong relationship with sheds light on WHY the father drinks heavily. She reveals to Albert his father's past in the Army, including showing him his father's regimental pennant (a symbol that travels with Joey throughout the film). This opening act is full of classic Spielberg whimsy, including the developing relationships and a conflict that would need to be solved by means of a miracle (in this case, Albert properly training Joey to plow an entire field by a certain deadline).

With the start of World War I, Joey is sold to a British Army Captain named James Nicholls, played by Tom Hiddleston. From there, Joey is taken to the warfront alongside Nicholls and is partnered with a black horse named Topthorn. Topthorn is commanded by Major Jamie Stewart, played by Benedict Cumberbatch. It's Hiddleston and Cumberbatch that drive this part of the film. They are both really good at playing roles very different from what the nerd culture is used to seeing them as. It's here that Hiddleston plays a man of honor and dignity and Cumberbatch plays a cocky and proud braggart. It's strange since we know Hiddleston as Loki (Asgardian God of Mischief), and even when Cumberbatch plays the villain he makes sure to give them a sense of class and charm. Here, they're nearly opposites from who they usually play and it's refreshing.

There are three stories that follow that serve as a good middle portion for moving Joey and Topthorn around Europe during the war. The first is a short but sweet story of two brothers in the German Army that use the horses to try and escape from the war. Next, is a story where the horses are found by a French farmer, played by Niels Arestrup, and his granddaughter Emilie, played by Céline Buckens. This one has a lot of heart, but it's primarily from Emilie and her grandfather than it is Joey, who is mostly just there as a window for the audience to see this relationship. Joey and Topthorn then find themselves back in the German Army pulling heavy artillery and in the care of Private Friedrich Henglemann, played by Nicolas Bro. His compassion for the two horses is actually pretty captivating since he seems to be the only one in the Army to empathize with the animals. This one is also kept pretty brief but it is definitely memorable since it paints at least one (three if you count the two brothers in the earlier story and four if you count one that I will talk about in the next story) of the German soldiers in a sympathetic light that we aren't used to seeing in the movies.

My personal favorite side story is the scene where Joey is caught in barbed wire and a British soldier Colin, played by Toby Kebbell, and a German soldier Peter, played by Hinnerk Schönemann agree to a truce while they help free the horse. Both men are entranced by the horse, and it is through saving him that they have a bond, even though they are on opposing sides of war. It is in this scene, and indirectly thanks to Joey, where we get a taste of the British and German armies realizing they aren't too different from one another. A very powerful scene in an already powerful movie.

We see Albert's development scattered throughout the film, eventually enlisting with the British Army. Once Joey makes his way over to the British side once again, it's only a matter of time before these two are reunited. It's the culmination of their reunion that perfectly embodies Spielberg's utilization of war drama and vintage whimsy. We have seen this friendship established and tested through the wartime, and we all know how the movie is going to end, yet there are tons of suspenseful scenes where their eventual reunion is in question. It's arguably one of the most obvious and telegraphed endings you could think of for a film, but of course, the audience is fully sucked in to all the drama of whether or not they will be reunited. It takes a real visionary like Spielberg to keep the audience anticipating a heavily telegraphed and obvious finale, yet here we are buying into it hook, line and sinker. Bravo Steven Spielberg. Bravo indeed.


Rating: 4.5 out of 5 stars

War Horse is a wonderful blend of Spielberg's historical and whimsical films. If you can make it through the 2 1/2 runtime, it's definitely worth the watch to witness a modern classic from one of the most iconic directors of our time. If you love Spielberg, war movies, or movies for the family, this is one worth owning in your collection.

War Horse and movie images are copyrighted by Touchstone Pictures

1001 Movies You Must See Before You Die- E.T. the Extra-Terrestrial

#704- E.T. the Extra-Terrestrial
Starring: Henry Thomas, Robert MacNaughton, Drew Barrymore
Directed by: Steven Spielberg


Plot Summary: When a group of aliens are collecting plant samples on Earth, government agents appear in an attempt to catch the extra-terrestrials. They depart and head back to their home planet, but leave one little alien stranded on Earth by mistake. The alien wanders to some homes in the California suburbs and encounters a 10-year-old boy named Elliott. Elliott hides the alien, whom he refers to as E.T., in his home and tries to keep his identity a secret. Along the way, Elliott shares the discovery of E.T. with his older brother Michael and his little sister Gertie. E.T. begins to learn a lot about Earth's customs, including the ability to speak English, and has also formed a telepathic connection with Elliott. On Halloween night, E.T. and Elliott head out to the woods to try and make a call to E.T.'s home planet. When E.T. goes missing the next day, Michael finds him close to death from an illness. To make matters worse, Elliott is also dying from the same disease, and government agents have invaded their home to quarantine Elliott and his new alien friend.


I'll never forget the first time I saw E.T. the Extra-Terrestrial: I didn't like it. Let me add some context by saying I didn't grow up with E.T. like most kids have since the '80s, so by the time I had finally seen it I didn't have that childhood nostalgia that most have with this film. With that being said, I recently re-watched it and I finally had a solid appreciation for what I was watching. Looking at what I've reviewed of his so far, I'm more partial to the magical side of Spielberg, as opposed to the historical Spielberg we're used to seeing in his modern projects. Magical Spielberg was able to captivate audiences by putting real-world people in out of this world experiences; whether that be a giant killer shark, a theme park full of vicious dinosaurs, or a young boy's encounter with an alien being far from home, Spielberg always had a vision that he would put on film and leaving audiences stunned in amazement, and that is definitely present in E.T., a film that was definitely responsible for making Spielberg a name in family entertainment.

The little alien himself is E.T. He is mainly voiced by Pat Welsh, but is mostly composed of various practical effects. E.T. is so beloved thanks to his innocence and his curiosity. Thank goodness for that too, because in terms of looks E.T. isn't exactly the cutest of alien designs. Regardless of that, E.T. is one of the most memorable aliens in film history, so much so that fans were outraged when Spielberg released a more up to date version of the film with CGI models of E.T. replacing the original in various scenes. Fans spoke for themselves, they did not want their classic character design tampered with, so both versions are out there to watch at the viewer's discretion (I'd personally recommend pursuing the original in all its glory...forget about the version that replaces the guns with walkie talkies).

E.T.'s little human buddy Elliott is played by Henry Thomas. One of the things that is found in a lot of Spielberg's earlier films is the use of child actors. Everyone knows that child actors make or break your film based on their acting ability. With a character like Elliott, it's even more crucial, since he is one half of the protagonist duo that he be a kid character we're invested in and can follow. Thankfully, Henry Thomas does a great job as Elliott. He's not only our gateway to E.T., but he's also E.T.'s gateway to knowing what our world and culture is like. You can definitely see the bond he has for E.T., since we don't see him have too many (if any) friends in the picture. My favorite bits between E.T. and Elliott involve their telepathic connection, meaning that whatever E.T. would see or feel, it would affect Elliott in return. The greatest bit involves E.T. drinking a beer while Elliott's at school and complete anarchy ensues for Elliott and his class. I'll just leave it at that...

Elliott's family also play a crucial role in the film's plot...at least, once they each discover the alien that is. Elliott's older brother Michael, played by Robert MacNaughton, is very sarcastic and has a group of friends that all bully and give Elliott a hard time. Their connection as brothers really comes into full effect once they share the secret of housing E.T., with Michael standing up for Elliott more and the two of them begin acting like a team. Elliott's little sister Gertie, played by a very young Drew Barrymore, is actually the one that teaches E.T. how to speak. She's also responsible for a handful of cutesy one-liners only a little girl could get away with. It's also just a lot of fun to see a young Drew Barrymore appear in one of the most well-known films in history. The only thing I never really liked was Elliott's mom, played by Dee Wallace, because of how inattentive she was about her kids keeping an ALIEN in the house. It's a freaking ALIEN. You have three kids, constantly doing weird stuff recently, and acting like they're hiding secrets and you don't investigate?!?!?! I get she's a single mom, and that part really does suck to see, but take an interest in your children's odd behavior for crying out loud. What if it had been drugs? Not an alien, but drugs? I'll just end it there before I go off on too much of a rant...

So now we come to the villains of the movie...the government. Led by an agent known as "Keys," (watch the film and I bet you'll figure out why) these agents do nothing but harass Elliott and his family in search of E.T. In fact, if you watch the beginning of the film, there is proof that the government are solely responsible for the entire film's conflict happening. Without them, E.T. would not have been stranded on earth, and granted wouldn't have a movie to begin with, but still those government agents are so irritating. They certainly know how to make an entrance...three times. We first see them in the dark of night searching for aliens, with the only light coming from their flashlights. Their silhouettes are as haunting to us as they are to E.T. Then, when they pop up later, it's through a few agents following Michael as he tries to find E.T. Watching these adults follow a kid on a bike while they're in a car is just plain unsettling. Finally, they invade Elliott's home in SPACESUITS! WHAT!?!??! But of course, by the end of the film, they are made to look like complete fools thanks to a few kids, some bikes, and one magical little alien.

E.T. the Extra-Terrestrial will forever leave a legacy on film thanks to the number of magical moments Spielberg created. For example, who doesn't know the shot of Elliott and E.T. flying across the moon on the bike? That symbol was so iconic, that it became the logo for Spielberg's production company Amblin Entertainment. Who doesn't know the film's iconic theme song courtesy of John Williams (who else could it possibly be?)? And who doesn't know the line "E.T. phone home?" This will forever be one of the films that is synonymous with Spielberg's career as a filmmaker, and I'm sure he doesn't mind that one bit. It's amazing to see how much magic Spielberg is able to create in his films, and we haven't even scratched the surface yet.


Rating: 4.5 out of 5 stars

It's films like E.T. the Extra-Terrestrial that display why Spielberg is one of the greatest directors of all-time. It's a film full of fun and family friendly magic, while also having some elements of drama and suspense. It's really hard to find people who can't find something to enjoy with this one, so it's one I'll say everyone should own in their DVD collection.

E.T. the Extra-Terrestrial and movie images are copyrighted by Universal Pictures

1001 Movies You Must See Before You Die- The Color Purple

#763- The Color Purple (1985)
Starring: Whoopi Goldberg, Danny Glover, Oprah Winfrey
Directed by: Steven Spielberg


Plot Summary: Celie Harris is a young woman who has already lived an abusive life at such a young age. After birthing children from her father and have them taken away, she is married off to an older man named Albert Johnson. A wealthy widower, Albert, whom Celie knows as "Mister," treats Celie like a slave and has his eyes set on Celie's sister Nettie. When Nettie refuses Albert, he banishes her from his house with her promising that "nothing but death can keep me from her." For decades Celie tolerates the abuse and continues to try and live her life day by day, but there are times where the abuse is too much for her. There are only three real things that Celie finds strength in, her stepson's wife Sofia, who continues to stand up for herself against abuse that comes her way, Albert's old flame Shug Avery, who takes a fascination to Celie, and of course Nettie, in hopes that she will fulfill her promise and returns.


I know what many of you thinking: "Steven Spielberg made this?!?!" I had the same thoughts when I discovered this, but yes...in 1985, Steven Spielberg made a film adaptation of Alice Walker's iconic novel about African American culture in the early 1900s, The Color Purple. At the time of this film's release, this was a HUGE detraction from the Spielberg audiences knew. The man had made Jaws, Raiders of the Lost Ark, and E.T. (we will get to those last two eventually) movies that were huge with both the critics and the box office, so in the annals of history we have here a Spielberg movie that flies under the radar a lot, but it really laid the groundwork for the Spielberg we know today: the one who nowadays captivates audiences with periodic pieces on an epic scale. So in terms of my viewing experience...what went wrong? I thought The Color Purple was fine, but it seemed to be lacking in what I was expecting from Spielberg.

Whoopi Goldberg stars in one of her first movie roles as Celie Harris Johnson. This was a rather shocking thing to see since I'm so used to Whoopi being a great comedian. There was a certain level of respect I had to give her for starting off her movie career with such a serious role. Celie's development comes through some of the biggest hardships a woman could go through at the time, and her neverending will is honorable. She adapts through the times and is able to find the thinnest shred of humanity that remains her hope for a happy ending (which I'll get to later).

Celie's husband Albert Johnson is played by Danny Glover. Again, this was kind of shocking to see because I generally enjoy Danny Glover in most of his movie roles. Albert is an absolutely detestable and abusive husband character for about 90% of the movie. While he has his moments from time to time where he displays a general care for Celie, he usually reverts. For the love of humanity, he has an OPEN declaration of feelings for an old flame that his wife is very well aware of and somewhat accepting of...how awful is that? All I could think of when I saw Danny Glover act this way was "Murtaugh NO!!! What would Riggs think?"...which of course, would open the door for infinite Mel Gibson jokes, but let's not go there.

One of the most fascinating characters in the film is Sofia, played by Oprah Winfrey in her film debut. Now, this was before her talk show ever premiered on TV, so who would imagine that Sofia from The Color Purple would go on to be one of the most iconic and influential women in all of media? Sofia is still a really great character to follow because she is so high strung and in her ways that her character growth is from her "remembering her place." She is quite the fighter, and like Celie, we really root for her...but maybe that's a bias factor since it's freaking Oprah.

The film's tone hits some of the most depressing notes that I've ever seen on film. Celie endures so much crap throughout the movie and you see her develop so much throughout the movie that you're hoping she gets some light at the end of the tunnel. The ending tries to give the audience that happy ending, but after 2 1/2 hours, the question that remains is whether it's too little too late. I've often heard people theorize that you can throw a lot of hardships and depressing moments in a story, as long as it has a happy ending. BULL. CRAP. By the time Celie got her happy ending, I had lost so much interest. If we were able to shave a half hour off the film, then I'd almost say it would've been more satisfying simply for the runtime, but this movie is LONG and drawn out so by the time the ending hits, I'm already so bored that I didn't really care how it ended, just that it did.

There's a big elephant in the room with the idea that this doesn't look like the kind of film Spielberg would direct. The obvious reason is for the subject matter and the focus on the African American community in the early 1900s, but the more I thought about it, the more I started to see why it shouldn't be a weird choice. The film is critically acclaimed (nominated for 11 Academy Awards, and walked away with nothing), it's a period piece (something Spielberg would be very well known for later in his career), and it's adapted from a groundbreaking novel. So, with all those in check, maybe The Color Purple does fit the conventions of Spielberg's movies. Although, as much respect as I have for Quincy Jones and his collaborations to music, John Williams was very much missed as the film's composer (he and Spielberg go together like Tim Burton and Danny Elfman).


Rating: 3 out of 5 stars

Whether or not you enjoy The Color Purple depends on if you believe the ending is "worth it." If you're a fan of the book and can stomach the hardships, it might be worth a watch, but it wasn't really my flavor of film. It may take me another opportunity if I ever get a chance to read the book and re-watch the film, but right now I'd put it at a weekend rental at best.

The Color Purple and movie images are copyrighted by Warner Bros.

1001 Movies You Must See Before You Die- Jaws

#628- Jaws (1975)
Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss
Directed by: Steven Spielberg


Plot Summary: When a young woman is attacked by a killer shark, panic begins to spread along Amity Island. Not wanting to interfere with the incoming tourist season, the mayor decides to not close the beach. When the shark returns and kills a young boy, Police Chief Martin Brody goes on a manhunt to kill the creature before it attacks the town again. In order to properly track the monstrous shark, Brody enlists the help of marine biologist Matt Hooper and shark hunter Quint. After they've been out on the water for a while, the shark reappears and it is there that Brody realizes they are going to need a bigger boat.


When you talk about greatest filmmakers, it's not too long before you find Steven Spielberg's name inching towards the top of the list. He's one of the most celebrated directors of all-time thanks to his imagination and dedication in bringing so many memorable visions to life. The man has brought us historical pieces, movies on aliens, giant dinosaurs, and so much more. Our topic of conversation today is a killer shark in the film that was Spielberg's first hit film and has been called one of the first summer blockbusters in history: Jaws. This film broke box office records (in fact, it was the highest grossing film at the time) and without it, Spielberg would never be the household name he is today.

The film may be titled after the shark, but it actually follows three humans who try to hunt the shark, including Police Chief Martin Brody, played by Roy Scheider. We get a very early impression of the kind of man Brody is thanks to some short interactions with his family and his dedication to his job. He may not be an expert on sharks like the other two protagonists, but his top concern is making sure the townsfolk are safe from the killer shark. Even when he is told that the beach won't be closed, he is held responsible (both by himself and some of the townsfolk) when the shark kills a kid. Then, when he imagines the danger his family could be in, he can't take it any longer. He's such a noble character and the audience is able to root for him since he's out there to do the right thing. And of course, he delivers two of the films greatest lines, the obvious being "you're gonna need a bigger boat," but my personal favorite being "smile, you son of a..."

In order to track the shark, Brody enlists the help of Quint, played by Robert Shaw. Quint has arguably one of the most memorable moments in the movie by giving a monologue about the shark's eyes, and he's just an enigma to see on film. From the way he dresses, to the way he talks, Quint is an aesthetically memorable shark hunter that goes along perfectly with the Jaws folklore. He also has the sharpest tongue of the three mains, always able to have some form of insult or criticism ready to go, which might surprise a lot but remember that he's an expert on hunting sharks so he believes he knows best.

Richard Dreyfuss plays oceanographer Matt Hooper, who originally thinks he knows better than Quint and makes him look like a hotshot. Thanks to a really well done scene where the swap stories about scars, there's a real sense of fellowship on display with these three characters that I really enjoy. Quint adds a lot of quirky humor to the discussion scenes with Brody and Quint. Of the three main characters, Quint is the least memorable but he offers a lot of fun character moments. He is also certainly the voice of reason in trying to inform Brody and the mayor the amount of danger the city will be in unless the shark is taken care of. He's almost like a spokesperson for the shark, heightening the danger that the shark brings with him.

The actual shark is a pretty dated special effect, but it's the thought that counts. The shark is introduced in one of the most iconic opening scenes in film history. Thanks to the camera shots that prove less is more in showing the shark, and a haunting theme by the great John Williams, the shark was able to make an immediate impact and scared audiences to the point where it was pretty understandable if they wanted to stay out of the water during the summer of '75.

Jaws really had a lasting impact on film and is a real game changer since it introduced Spielberg to the general public. Even if you've never seen the film, you know the basic premise of the killer shark that terrorizes the ocean for a small town. There are tons of memorable scenes and lines that moviegoers should be able to appreciate and discuss, and the only negative about the film was that it set the bar so high for Spielberg that it was difficult for him to top himself with every film. There are tons of films he has made though that are synonymous with his career that are featured on this list, and even a few underrated flicks on display, so let's continue the next two months by diving into one of the most important movie portfolios in history and celebrate the career of Steven Spielberg.


Rating: 4 out of 5 stars

Don't be too critical of the dated shark effects, and Jaws should be pretty enjoyable to watch. The human characters are engaging enough, and there is a definite feeling of fear that audiences can latch onto since there is a chance it could happen in real life. If you love Spielberg, horror, or film in general, this is one worth checking out and owning in your DVD collection.

Jaws and movie images are copyrighted by Universal Pictures

1001 Movies You Must See Before You Die- Inside Llewyn Davis

#1164- Inside Llewyn Davis (2013)
Starring: Oscar Isaac, Carey Mulligan, Justin Timberlake
Directed by: Joel and Ethan Coen


Plot Summary: Llewyn Davis is a struggling folk singer living day by day in New York City's Greenwich Village. Originally part of a duo, Llewyn has tried making it as a solo artist after his partner committed suicide, but is debut album is not selling. After spending a night sleeping at a friend's apartment, Llewyn accidentally lets their cat escape and carries it with him to the home of Jim and Jean Berkey. While there, Jean informs Llewyn that she is pregnant and hints at the idea that it could possibly be his. Along his journey to stardom, Llewyn has to endure many tribulations, including giving up his royalties for a performance in order to make some quick money, traveling to Chicago with a soft spoken beat poet and a loudmouth jazz musician, auditioning for the famed Bud Grossman, and trying to reenlist with the Marines. With an upcoming gig at the Gaslight, could this be Llewyn's big break?


To close out my look at the Coen Brothers, we have a film that was put on the list only a month ago: Inside Llewyn Davis. Now, when I saw the list of new movies that were added this year, this one had me scratching my head. Sure, I enjoy the Coen Brothers' films, but this one wasn't as well received as their other projects and even my English professor (shout out to Dr. Fruhauff), who is a HUGE Coen Brothers fan, found it odd that this was considered a film everyone should watch before they die. Needless to say, I was unsure how to approach this one and after watching it and thinking it over...I'm still unsure whether or not I liked this movie.

When the film fist came out, the thing that had everyone talking was Oscar Isaac's breakthrough performance as Llewyn Davis. You really find yourself rooting for Llewyn even if he isn't kind to others, or has an indifferent and sarcastic attitude. Llewyn embodies the dream that virtually anybody has or wants in achieving their dreams. Isaac brings a sincerity in making the desire for the dream come out in Llewyn, and when he stumbles on his path, it's absolutely devastating to witness. You can feel the weight of his world come down with every obstacle or criticism that is put in his way and you hope for some good luck to come his way. This is one of the only Coen Brothers' films I've seen where majority of the screen time is focused on a single character. Their films are notorious for their engaging side characters, but here they're almost footnotes in comparison to how much of the film is dedicated to solely telling Llewyn's story.

The only real character that gets a lengthy amount of screen time is Llewyn's "friend" Jean Berkey, played by Carey Mulligan. Jean is unkindly cruel towards Llewyn at every chance she gets and is the center of a very controversial topic that is covered in the film (I don't wanna give much away, but let's just say it involves a baby). I saw an interview on the DVD bonus features, and Mulligan says she believes Jean is hard on Llewyn because she sees his potential and that he's straying far from it. Honestly, I didn't get that when I saw her performance. Her husband Jim Berkey, played by Justin Timberlake, is a much more likable and friendly character to Llewyn, but he lacks some serious screen time. Of course, it's Justin Timberlake, so he's gonna make the most of what screen time he has, and he makes up for how little he's on screen by lending his talents on the film's soundtrack in a handful of songs (which is always enjoyable).

One of Llewyn's most interesting journeys in the film is when he hitches a ride to Chicago with two bizarre musicians. The first is jazz musician Roland Turner, played by John Goodman, and the second is beat poet Johnny Five, played by Garrett Hedlund. I suppose their dynamic is interesting, since Johnny barely speaks and Roland doesn't shut up, but these guys barely have any screen time and once they are gone, they aren't mentioned again nor do they really contribute anything meaningful for Llewyn on his journey to stardom other than giving him an opportunity for a few snarky comments and being his ride to audition for Bud Grossman, played by F. Murray Abraham. Once they were gone, I honestly felt like their talents were wasted, especially Goodman's which is a shame considering his history with the Coen Brothers.

One thing that's for sure about Inside Llewyn Davis is that it's not the feel good movie of the year 2013. The film's darker tone from some pessimistic and often mean spirited characters, and a mixture of sarcastic and dreary dialogue definitely makes it difficult to smile throughout the film. So many characters are down on Llewyn that you really feel bad for the struggling musician. His moments of comedy are from a deep frustration that many can relate to, but I certainly can't imagine that making many viewers actually "happy." As far as whether or not I believe this is a film to watch before you die, only time can tell. Every year or so, most of the most recent additions to the list are removed after a year of hindsight and are replaced with even newer additions to keep the list current. I believe Inside Llewyn Davis will probably get removed, so if you're going to watch it, make sure you watch it soon while it's still relevant within the list.


Rating: 3.5 out of 5 stars

The one part of Inside Llewyn Davis that I believe is universally enjoyable is the music, which has always been a focal point in the Coen Brothers' films. But I think the darker tone might alienate general audiences so give it a watch only if you love the Coen Brothers and folk music.

Inside Llewn Davis and movie images are copyrighted by CBS Films

1001 Movies You Must See Before You Die- True Grit

#1133- True Grit (2010)
Starring: Jeff Bridges, Matt Damon, Hailee Steinfeld
Directed by: Joel and Ethan Coen


Plot Summary: Young Mattie Ross arrives to identify and collect her father's body after he was murdered in cold blood by a drunk named Tom Chaney. Determined to avenge her father's death, Mattie hires a Deputy U.S. Marshall by the name of Rooster Cogburn to track Chaney down. To make sure it goes well, Mattie insists on joining Rooster for the journey. Chaney is also being tracked by a Texas Ranger named LaBeouf, who proposes to team up with Mattie and Rooster since they're all after a common bounty. Their trail leads them to catch up with Chaney, who is now in the company of "Lucky" Ned Pepper on Indian Territory, and when Mattie is held in their captivity, it becomes a struggle to see who will come out on top in this stalemate of Mattie, Rooster, and LaBeouf against Chaney, Pepper and his men.


Let's not cut to the chase with this one. There's a very simple premise with how I wanted to tackle True Grit, and that's under the idea that this is a remake. Yes, there are TWO versions of True Grit out there, this one, and the original being a John Wayne classic. So of course, the obvious question going into the 2010 version was finding out what was so special about this one that it made the list over an iconic Western starring arguably the most iconic cowboy in history. To be honest, I'm not sure I was able to figure out why. The original, while much tamer in terms of content, tells most of the same story and does so with a cast featuring the likes of John Wayne and Robert Duvall. I mean...it's a Western starring John Wayne and Robert Duvall and it does NOT make the list? Yet the Coen Brothers are able to make a film that so surpasses the original that it's deemed worthy? Considering this film was nominated for 11 Academy Awards and walked away with nothing, it's quite possible that this could drift more towards the overrated pile of Coen Brothers' films.

Jeff Bridges reunites with the Coen Brothers to take on the role of Rooster Cogburn. Since the original Rooster was played by the iconic John Wayne, Bridges had HUGE shoes to fill, but thankfully he doesn't try to do a John Wayne impression. He really does make the character his own, and his drunken state almost makes me believe that Rooster could be an Ol' West version of Bridges of the Dude. I will say the biggest problem I have with Rooster is how he's built up as this great bounty hunter and we see more of him in his drunkenness. He has his moments, but I never got the impression that I was looking at "one of the best," but instead someone who was way out of their prime, almost a living shell of who they used to be.

The character that sticks out like a sore thumb the most in this film is the Texas Ranger LaBeouf, played by Matt Damon. I enjoy Matt Damon, but just look at that outfit. This film thrives on having a true grittiness (PUN INTENDED) in its character and production design, and then they go ahead and throw in a character played by one of the biggest modern names we have in Hollywood and they dress him up like THAT? On top of that, there's something strange in Damon's delivery, I'm not sure what it is though, maybe it's the way he speaks or what he's saying, but his character comes across of being in way over his head during everything.

If we're splitting hairs here, I really believe the main character in the film is Mattie Ross, played by Hailee Steinfeld. If you want any proof of why Steinfeld should be considered one of the best young actors out there today, look at her performance here. Mattie is so driven by the murder of her that she almost appears unstable in her conquests for revenge. There are so many times where she's like a machine or the Energizer bunny, she just doesn't stop. And while it can be unsettling, there's almost an endearing and relatable quality to it. Sure, they always tell us revenge is never the answer, but from the point of view of a child who is now down one parent and doesn't have a strong enough mother to support the family, it's understandable why she doesn't see it that way. She wants to avenge her father's death and goes to the most insane of lengths to make sure it's done correctly. The fact that she's both a woman and child is also very captivating since women and children weren't exactly the kinds of characters that were at the forefront of Western adventures.

Not only do we have star-studded heroes, but we also have a pair of strong villain performances thanks to some great character actors. First is Tom Chaney, played by Josh Brolin, who plays a slack-jawed drunken fool who really feels like an odd choice for our murderer since he doesn't seem like a crafty strategist. He's just in the wrong place at the wrong time. "Lucky" Ned Pepper, played by Barry Pepper (what a coincidence), seems more like the kind of character that our heroes should follow, but he's more underplayed than anything else, making the audience want to know more about him. Even more interesting is that the villains don't show up until the final act, so they have a short amount of time to make an impact, and by doing so, they feel like they've been part of the film since the beginning.

Still, I feel like something is missing from True Grit. While it looks amazing and there are a lot of great actors involved, it's hard to actually categorizes what works as a whole. Maybe I got desensitized by the Western month I did a while back, but nothing seemed innovative to me. The only legacy this film has is by being a remake of a classic film that didn't fall flat on its face. The debate does exist over which is better, so maybe the most meaningful aspect of the film is that it was able to at least open up a discussion.


Rating: 3.5 out of 5 stars

I know there are a lot out there that consider True Grit one of the Coen Brothers' better movies, but I don't really see it that way. I don't hate the film, but there isn't too much appeal that I see to it. It does have a strong cast and is filmed well, but it felt as though something was missing in keeping me invested. I'd say it's worth a rental for Western lovers, especially if you want to compare it with the John Wayne original.

True Grit and movie images are copyrighted by Paramount Pictures

1001 Movies You Must See Before You Die- O Brother, Where Art Thou?

#1019- O Brother, Where Art Thou? (2000)
Starring: George Clooney, John Turturro, Tim Blake Nelson
Directed by: Joel and Ethan Coen


Plot Summary: Ulysses Everett McGill, Pete Hogwallop, and Delmar O'Donnell have escaped their chain gang on a quest to recover 1.2 million dollars that Everett stole and hid before being sent to jail. The valley in which it is buried is about to be flooded for a new hydroelectric project, so they only have four days to retrieve the treasure. On the road to finding the treasure, they pick up a hitchhiking guitar player named Tommy Johnson and record the song "Man of Constant Sorrow" under the name of the Soggy Bottom Boys, with their song becoming a huge hit across the states. Everett, Pete, and Delmar also come across famous bank robber George Nelson, a trio of sirens who seduce and drug them in an attempt to collect a bounty placed on them, a one-eyed Bible salesman, the Ku Klux Klan, and Everett's wife Penny, who is now engaged to a bona fide campaign manager named Vernon T. Waldrip. Searching for the treasure is already dangerous enough with the authorities on their trail, but could it be even worse for the trio if the treasure is nothing but a hoax?


This month is not only the opportunity to experience Coen Brothers' films that I have never seen before, but also to reassess films of theirs that I haven't seen for a while. Case in point with O Brother, Where Art Thou?, a film that I have been familiar with since my early teen years and can be cited as my first experience with the Coen Brothers. While I really enjoyed the film when I was younger, I have grown an even deeper appreciation for this film even more as an adult. Per the usual Coen Brothers' fashion, this film has a large cast of characters, including many frequently used actors in other Coen Brothers' projects, but also features an iconic soundtrack and is even partially adapted from one of the most famed works of epic poetry of all-time.

George Clooney stars as Ulysses Everett McGill, the brains and mouth of the trio. While he might be an escaped convict, he is very eloquent in his vocabulary and is the one who always has a plan. Credit must go to Clooney for making the character so charismatic and entertaining. Everett is constantly obsessing over his hair and there's something about that that Clooney pulls off very well, perhaps thanks to his Hollywood good looks yet playing a scheming prisoner. Everett does have his flaws, such as insulting his friends and mocking faith, but Clooney is still able to make Everett likable. And of course, Everett's shining moment is as the lead singer for when he and his friends become The Soggy Bottom Boys (love that name), but I'll discuss the music more towards the end. Is this one of Clooney's most memorable roles? To some yes, but for many probably not, but his presence as the leading man in this film is certainly appreciated, and he has since become a recurring actor in many of the Coen Brothers' most contemporary works.

Everett escapes his chain gang with the help of Pete Hogwallop, played by John Turturro, and Delmar O'Donnell, played by Tim Blake Nelson. Pete is the more outspoken and impulsive of the group, but there's a charm given to him by his loyalty for his friends and family. There's a scene where Everett steals from Pete's cousin, who has also tried turning them over to the authorities for a bounty. Even though he was betrayed by family, Pete still has the need to defend his cousin and admonishes Everett for his theft. It goes to show that even moronic and criminal characters can have ethics and morals that make them much more complex than we initially imagine. Delmar is dumb through and through, but loyal and with a heart of gold. One of the recurring gags with the character is that he will repeat his lines throughout a scene, either because he's being ignored or if the situation calls for a repeated response. He reminds me a lot of Donny from The Big Lebowski in his dynamic within the trio. Delmar is certainly lovable for his simple nature and is even told that he does not say a lot, but when he does it's to the point. If the Coen Brothers have taught us this month it's that they can make simplicity go a long way.

It's become the usual to be fascinated by many of the Coen Brothers' side characters in their films, and this film is no exception. Among them are Tommy Johnson, played by Chris Thomas King, a black (YES, the racism DOES matter in this film, so don't take it out on me in the comments) guitarist who helps form The Soggy Bottom Boys, Everett's estranged wife Penny, played by Holly Hunter, who keeps telling their daughters that Everett was hit by a train (despite the fact that he is standing right in front of them alive and well), Pappy O'Daniel, the short tempered incumbent governor of Mississippi played by Charles Durning, his opponent in the upcoming election Homer Stokes, played by Wayne Duvall, and Sheriff Cooley, played by Daniel von Bargen, whose appearance resembles a description of the devil that Tommy brings up in his introduction scene. But my favorite side character is Big Dan Teague, a one-eyed man played by John Goodman who is pretending to be a Bible salesman. While it's great seeing Goodman in another Coen Brothers' film, I wish they had used him more, but his short screen time does leave a lasting impression on the film as a whole.

One facet of the film that fans find the most memorable is the folk and bluegrass inspired soundtrack. In many ways, the soundtrack proved to be more popular than the film upon its release. The true highlight of the soundtrack is "Man of Constant Sorrow" performed mainly by Dan Tyminski (sorry to disappoint all who thought it was really Clooney singing). Let me tell you something, it is quite an accomplishment to have a song stay consistently stuck in my head over the years and that's what "Man of Constant Sorrow" does. Just getting ready to re-watch the film, I was listening to it, my ears pricked up whenever it appeared in the film, and I even listened to it while writing this review. It's so catchy and was always the thing I associated with the film (that's right, this song outshined Clooney). So be forewarned, if you watch O Brother, Where Art Thou?, be prepared to have "Man of Constant Sorrow" stuck in your head for a long time.

Unless you paid attention to the opening credits, you may be unaware that the film is loosely adapted from Homer's Odyssey. But once you've looked at it...yeah, they do encounter sirens, a cyclops, wearing disguises, certain character names, and even a prophecy is told in the film's beginning. I often feel like this is a cherry atop the film's narrative. It's nice that it has a source material, but even if you didn't notice and make all the connections, the film is still great fun on its own. O Brother, Where Art Thou? should be remembered as one of the Coen Brothers' most monumental films because it is a modern retelling of one of the great epics of Ancient Greece, but does so in a way that may be unnoticeable to some and may appear as an equally strong contemporary epic set during the Great Depression.


Rating: 4.5 out of 5 stars

O Brother, Where Art Thou? is definitely one of the Coen Brothers' most underrated works. The performances of main cast help carry a slower paced narrative, the dialogue is witty, and the film's folk soundtrack provides authentic and catchy musical accompaniment. I recommend everyone check it out at least once, and if you love the Coen Brothers and George Clooney, this one should definitely be in your collection.

O Brother, Where Art Thou? and movie images are copyrighted by Touchstone Pictures & Universal Pictures

1001 Movies You Must See Before You Die- The Big Lebowski

#985- The Big Lebowski (1998)
Starring: Jeff Bridges, John Goodman, Steve Buscemi
Directed by: Joel Coen


Plot Summary: Jeff Lebowski, otherwise known as the Dude, arrives home and is attacked by two thugs demanding money that is owed to Jackie Treehorn. After one of the thugs urinates on the Dude's rug, they realize that they have attacked the wrong Lebowski. The Dude goes bowling with his friends Donny and Walter and is convinced to go demand the other Jeffrey Lebowski, a crotchety millionaire, pay for him to get a new rug because it "tied the room together." Lebowski, acknowledging the Dude's slacker appearance, insults him and denies his request. When Lebowski's wife Bunny is kidnapped, he relies on the Dude to be the courier in order to hand over the ransom to get her back. When other parties start showing up to speak to the Dude, questions arise on whether or not Bunny was even kidnapped by someone, and when the Dude's car is stolen with the money inside, he must find a way to get the ransom back before Lebowski, the kidnappers, and anyone else involved comes after him.


When I started this month, there was really one goal in mind: to FINALLY see The Big Lebowski and figure out what all the fuss is about. This makes so many lists, including top comedies, most quotable movies, and is considered one of the best films from the Coen Brothers. Keep in mind that all of this has developed years after the film was released. When it first came out, The Big Lebowski was met with mixed reviews and did poorly at the box office. But since its release, it has gained a cult following and the Dude has become one of the biggest pop culture icons of the '90s. So, there was a lot of hype going into this one and I was nervous that, like Fargo, it wouldn't live up to my expectations. Miraculously, The Big Lebowski exceeded all expectations I had, kept me laughing, and became an instant favorite. So what is all the fuss about? Well, like many of the films from the Coen Brothers, the plot is not what fascinates the audience, but rather the characters and The Big Lebowski has its fair share of the memorable and the bizarre.

Jeff Bridges delivers one of the most iconic roles of his career as Jeff "the Dude" Lebowski. Bridges does such an amazing job at playing such a carefree character that you don't see an actor, you see a guy that you could be friends with. Perhaps that's what's so identifiable with the Dude, is that he is a universal type of character but is performed with such expertise that he's the quintessential bum. He could literally be THE dude. There's also so many things you can dissect about the Dude, from what he drinks, to his hobbies, to how he interacts with his friends, to the fact that one of the things he values most in the world is his floor rug (it tied the room together). He might have other important roles (one of which I'll talk about in a little bit), but the Dude might be the one Jeff Bridges is known for the remainder of his career because of the Dude's appeal to our inner slackers.

The Dude is a member of an iconic movie trio and one of the most legendary bowling teams ever assembled. Donny, played by Steve Buscemi, is the more quiet and reserved member of the group and is a perfect foil for the Dude and Walter, played by John Goodman. Walter is my favorite character of the entire film because of how outrageous and outspoken he can be. Nearly every scene he's in involves a conversation of how whipped he is by his ex-wife, his Jewish "faith," and the Vietnam War and it's incredible. One moment he can be trying to be politically correct by telling the Dude to refer to a "Chinaman" as an Asian American (he even uses the word nomenclature), the next moment he can pull out a loaded firearm over a controversial bowling call because it's a league game. Walter is an incredible film and proof why I love John Goodman so much. He and the Coen Brothers are a great mix.

The Dude isn't the only Lebowski in this film, but these Lebowskis are of no relation to the Dude. The first is the OTHER Jeffrey Lebowski (otherwise known as the titular "big" Lebowski), played by David Huddleston. Either Huddleston or the Coen Brothers must've been inspired by Lionel Barrymore because I'm convinced Lebowski is a modern day version of Mr. Potter from It's a Wonderful Life. Lebowski and his wife Bunny, played by Tara Reid, don't do a whole lot in the film, nor do they appear on screen very long. However, the two have a presence all over the plot because of the mystery of the ransom, which goes to show that you don't need a lot of screen time to make in impact in a story. Jeffrey's daughter Maude, played by Julianne Moore, is one of the film's most eccentric characters thanks to some of her hobbies and friends, along with the way she speaks and her peculiar attachment to the Dude.

The film also has a lot of memorable side characters that give that extra something to strengthen how strange the film can be. One of my favorites is Brandt, Mr. Lebowski's personal assistant played by the late Philip Seymour Hoffman. Brandt acts as a mediator between the two Lebowskis and his constant attempts to maintain order and pleasantness in the most screwed up of situations is absolutely hilarious and makes me miss Hoffman even more so because of his range of talent. The Stranger, played by Sam Elliott serves as the narrator of the film. I think more films should be narrated by Sam Elliott. Why? Because he has an awesome voice that's why. You ever hear the commercials he narrates? He has a very distinct voice meant for telling a legendary story like this one. And the final character (who does very little, but people love him) is Jesus Quintana, played by John Turturro. Some might think Jesus as just a cocky bowler who bugs the Dude, Walter, and Donny but he has so many distinct mannerisms and quips that he's a bit of an enigma. He's only in about two or three scenes and he makes an impact as one of the most memorable characters in the whole film.

The Big Lebowski could very well go down as the most popular Coen Brothers film. Here's an instance where their simplicity works in that they have channeled it all in one character (the Dude), and has created such a carefree individual and put him in a convoluted and complex conflict complete with a collection of the most colorful characters you'll ever see (alliteration for the win). This could very well be a Seinfeld-like movie, where in theory it's about "nothing," but can be a lot deeper if you dig deep. Maybe we should all be like the Dude and wear flip flops and bathrobes, enjoy a nice White Russian (drink responsibly), go bowling with our buddies, and live in a world carefree looking for a nice rug that ties the room together. In a world like that, we could all abide like the Dude. But there I go rambling...


Rating: 5 out of 5 stars

The Big Lebowski kept me fascinated the entire film. Within every scene I was able to dissect the situation and figure out why every joke was able to work. I'm only able to do that with a handful of comedies, so that must account for something. If you enjoy comedies, add this one to your collection because it's one of the most quotable comedies in history.

The Big Lebowski and movie images are copyrighted by Universal Pictures

1001 Movies You Must See Before You Die- Fargo

#944- Fargo (1996)
Starring: Frances McDormand, William H. Macy, Steve Buscemi
Directed by: Joel Coen


Plot Summary: Jerry Lundegaard is desperate for money, to the point where he hires two hitmen to kidnap his own wife and hold her for a ransom of $80,000 to be paid by Jerry's wealthy father-in-law, Wade Gustafson. In reality, Jerry is planning on asking Wade for more ransom money and keeping most of it for himself. The two criminals, Carl Showalter and Gaear Grimsrud, succeed in kidnapping Jerry's wife Jean, and as they are driving away with her in the backseat, they are pulled over by a state trooper. They're pulled over for not having proper tags on their getaway car, which was supplied by Jerry. Carl tries to bribe the trooper to let them pass without giving them for a ticket, but Gaear becomes impatient and shoots the trooper in the head. When a couple passes by the crime scene, Gaear chases them down and kills both of them, eliminating all witnesses. The next morning local police Chief Marge Gunderson is called in to investigate the homicides and she begins a mission to track down the murderers without even knowing that these are the same two men that kidnapped Jean Lundegaard.


Remember what I was saying during my Raising Arizona review of how simplicity can be splendid? Well, I still believe it can be, but only for a short while. As one of their earlier projects, Raising Arizona really helped establish Joel and Ethan Coen and it was up to them as filmmakers to continue to thrive and become more ambitious as their film careers progressed. You wouldn't expect directors like Quentin Tarantino or Steven Spielberg to keep making as many movies as they do if they kept the tone and ambition they had in their earliest projects. They have to keep elevating their game and evolving in the realm of making movies. Why do I bring this up with the Coen Brothers? When it was time for me to watch Fargo, I knew going into it that it was one of their most famous and well received movies. But by the time it was over, I was wishing they had not relied on simplicity to create comedy and told something more complex to keep me interested.

The main protagonist is local police Chief Marge Gunderson, played by Frances McDormand. Of all the Coen Brothers' films, Marge is usually considered one of the most memorable and I'd be lying if I said I couldn't see why. While polite, Marge has a great, fast acting mind for criminal psychology, and gets so much work done on her own, moving way ahead of some of her lesser minded colleagues. She is a very ambitious police chief and a very strong, independent, female character which is definitely refreshing to see in the world of crime thrillers. Her interactions with her husband Norm, played by John Carroll Lynch, are very adorable and they have a great dynamic as a couple. In an interesting turn of events, Norm is more of a traditional stay at home "wife" type character, while Marge is out in the field doing police work. Not even a female event like being pregnant can slow Marge down. That's right. Marge is able to do all that she does while PREGNANT. Is there anything Marge can't do? She's like Fargo's version of a superhero.

Fargo is also full of fascinating side characters, including Jerry Lundegaard, played by William H. Macy. Jerry is the epitome of a doormat and nearly every character gets the opportunity to walk all over him. The worst part of it comes whenever he has an idea and people want to take the idea from him and make it their own (better) idea. Even if this make's Jerry's blood boil, he's too darn polite to actually make a fuss about it. William H. Macy I always think is a great character actor and he does a great deal with what he's been given with Jerry. You definitely feel sorry for the guy in most cases and wish he could grow a spine and become his own man. But if he did that, it wouldn't nearly be as funny to watch the same formula happen to him with different characters.

There are really only two characters who feel at home in this crime thriller, and that's Carl Showalter, played by Steve Buscemi, and Gaear Grimsrud, played by Peter Stormare. The two may come off at first as numbskulls, but they take their jobs very seriously and try to carry out as much professionalism as possible, while still maintaining some fun along the way. The two have another interesting dynamic because Gaear barely speaks and Carl never shuts up. Buscemi really has an opportunity to shine by playing...well, Steve Buscemi (and that's absolutely fine with me....because Steve Buscemi is awesome). While audiences are used to Buscemi's rat-type character, Gaear has an equal opportunity to make an impression because of how opposite he is. He's quiet, but not dumb. He's very cold and calculating, only speaks when he needs to and has a thirst for blood and not caring who you are. If Gaear finds you to be a threat to him completing his job, he will not hesitate to kill you and that's actually pretty terrifying. Mix that with Carl as a weasely mouthpiece, and you have a very deadly combination that leaves an indelible imprint on the film's plot.

I'm not sure if I'm a minority on this, but I found by the end of Fargo that I wasn't sure where all the appeal was. Don't get me wrong, I absolutely loved the acting performances from the main characters, but what I don't see the appeal in is the dark comedy aspect of the film, which mainly stems within the setting of Fargo, North Dakota. I understand that much of the dark humor is within the concept that many of these characters are too polite and courteous to be your generic crime thriller characters. Here's what I got from the humor: it's cold where they're at, most of them are too polite, they speak in a "funny" accent and say repeat phrases like "Oh yeah" and "Ah jeez," and that's about it. Are people from Fargo offended by this movie or do they find it an accurate depiction? Anyone from Fargo, please let me know in the comments because that was the biggest question I had while watching this overhyped and I dare say "average" film.


Rating: 3 out of 5 stars

Maybe I was expecting too much from Fargo due to hype as one of the Coen Brothers' bigger films, but something left me immensely underwhelmed. For me, the accent jokes and politeness can only go so far before I get bored, but there are still some good acting performances and a gritty crime thriller on display, so it's worth a watch at least once to see if the dark humor makes or breaks the film for you.

Fargo and movie images are copyrighted by Metro-Goldwyn-Mayer

1001 Movies You Must See Before You Die- Raising Arizona

#786- Raising Arizona (1987)
Starring: Nicolas Cage, Holly Hunter, John Goodman
Directed by: Joel Coen


Plot Summary: Herbert I. McDunnough is a criminal that falls in love with a policewoman named Edwina, or Ed for short, and the two get married with the intention of starting a family of their own. After finding out that Ed is barren, they hatch a plan to steal one of the "Arizona Quints," quintuplets born from the famous furniture store owner Nathan Arizona. H.I. and Ed break in and steal one of Nathan's sons, Nathan Jr., and begin to raise him as their own son. When some of H.I.'s friends from prison break out and stay with them, they decide to let H.I. in on a plan to rob a bank. Conflicted with his new family life, H.I. must make a difficult decision on whether or not he should return to his criminal ways. Problems arise for H.I. and Ed when H.I.'s friends realize who Nathan Jr. really is and they steal him for a ransom. And an even bigger problem is on its way in the form of a massive, motorcycle riding bounty hunter named Leonard Smalls.


For over a year, I have tried covering months of different movie genres, but I have never attempted to look at different genres of movies that are made by the same filmmakers. To experiment with this, there are tons of directors you could go with, like Steven Spielberg, Stanley Kubrick, or Quentin Tarantino, but I decided to go with Joel and Ethan Coen, two brother that have been entertaining moviegoers for over two decades now. One of my first reviews on here was for arguably their greatest film, No Country for Old Men, but I was more or less looking at it based on how I felt in comparison to the book. Now, I have an opportunity to look at 6 of their greatest films and see what aspects of their direction and writing appear in each film. To start off Coen Brothers month, let's look at one of their earliest successes: Raising Arizona. I had heard the general plot before about how a couple played by Nicolas Cage and Holly Hunter steal a baby, but that's all I knew. Already I'm promised pure joy by watching a Nicolas Cage film, but then add the fact that John Goodman, one of my favorite comedic character actors (and from what I can see, a frequent actor in the Coen Brothers films), is in this film too and I was sold on watching it.

The two main characters in Raising Arizona are Herbert I. "H.I." and Edwina "Ed" McDunnough, played by Nicolas Cage and Holly Hunter. Already, thanks to their names, these two are memorable characters. The Audience can remember their names because it's a man named "Hi" and a woman named "Ed," names that are not exactly considered conventional. You're able to see the love these two have for each other, even when they're squabbling. Love and marriage is no picnic and H.I. and Ed prove that. I think what's great about these two is that they don't have cruel intentions in mind when they steal Nathan Jr., and while they are committing a felony, they (for the longest time) are guilt free because they felt they were doing the right thing. An acting performance from Nicolas Cage is a highlight in any film he's in and watching him as H.I. is no exception. Just look at that hair and hear how he speaks, you're sure to be entertained throughout the whole movie.

Two side characters that steal the scenes from H.I. and Ed are Gale and Evelle Snoats, played by John Goodman and William Forsythe. While Evelle has a few good one-liners and is the more innocent of the duo, it's Goodman's portrayal of Gale that makes the biggest impression. Gale is a bit of a numbskull by trade, but also walks and speaks with a sense of business savvy, so even if he has a plan, it's still being devised by a pair of idiot brothers. Their greatest moment in the film is their escape from prison that for some reason requires both of them to be screaming the entire time. There's something so hysterical about how these two should NOT be successful at busting out of jail because of how much noise they're making and the fact that they are never caught and keep low key for most of the film that makes it even more funny.

One of the film's most memorable characters is the bounty hunter Leonard Smalls, played by Randall "Tex" Cobb. Cobb gives Leonard a surprisingly extensive vocabulary and diction, not something you would expect from a man Leonard's size. Add just how stereotypically BA (you know what that means) he is, and you have quite the intimidating force. His motorcycle riding is beyond ridiculous, following characters up ladders and through buildings, and a good chunk of the films pyrotechnics are used through the amount of force and power that a man like Leonard exudes. Not much is known about Leonard (except his friends call him Lenny, but he has no friends), and it's the mystery mixed with his intensity that makes him really stand out amongst the already great cast of characters.

Despite little experience with the Coen Brothers, I do know that a good chunk of their comedies are considered "dark comedies." Raising Arizona goes all out in delivering slapstick and punchlines that are comedy in its purest form and is anything but subtle. A lot of the comedy is within each of the characters (as I cited some of their best scenes above), but the best scene happens in the middle of the film, when H.I. regresses and robs a convenience store while buying some Huggies. Naturally, Ed sees this, gets upset and drives away. What ensues is a marvelously hilarious chase scene involving guns, car chases, dogs, a supermarket, and Nicolas Cage running around with a "panty" on his head. It's through the bizarre and over the top delivery that creates a fantastical element of comedy that allows the comedy in Raising Arizona to stand out amongst the Coen Brothers usual brand of dark comedy.


Rating: 4 out of 5 stars

Since I'm not all too familiar with the Coen Brothers, I think Raising Arizona served as a great starting point. The directors have certainly had more ambitious projects over time (which I am sure to find out throughout the month), but this film shows that simplicity can be rather splendid for the viewer. If you're in the mood for a good laugh, I strongly suggest adding this to your collection.

Raising Arizona and movie images are copyrighted by 20th Century Fox

1001 Movies You Must See Before You Die- The Masque of the Red Death

#434- The Masque of the Red Death (1964)
Starring: Vincent Price, Hazel Court, Jane Asher
Directed by: Roger Corman


Plot Summary: Prince Prospero visits a village and is angrily confronted by two hungry peasants and sentences them to death. Their lives are begged to be spared by the virtuous Francesca, for these two men are Lodovico, her father and Gino, her lover. Whilst making a decision, Prospero discovers that the village could be infected by the deadly plague known as the Red Death. He orders the village to be burned down and takes Francesca, Gino, and Lodovico to his castle. Despite the recent events, Prospero plans to have a grand masquerade ball, where he has instructed no one can wear the color red. During her time in the castle, Francesca discovers a room and something truly shocking, that Prince Prospero and his mistress Juliana are involved in satanic rituals.


Happy Halloween! I hope everyone has spent their day adorning a costume that is either haunting or hilarious, has enjoyed buckets filled with their favorite candies, and has had the opportunity to binge watch as many horror films as they can muster. But, I hope you have room for one more. With so many options to do for a Halloween review, I decided to go for a triple dose of terror. The Masque of the Red Death is a film starring horror icon Vincent Price, directed by famed horror director Roger Corman, and based on a short story by the legendary Edgar Allen Poe. With a combination like that, of course the film is going to be worth a watch for all horror fans, but there are some things about it that may surprise you.

Horror icon Vincent Price stars as Prince Prospero. It's easy to see why Price was a titan of terror back in the day. His voice is just so powerful and unique. I always knew that Vincent Price had one of those legendary screen voices and hearing it in a horror film on Halloween gives me chills with how well it works. It's hard to describe but there's something so sinister about how Price's voice that it belongs in a horror film. So it's quite possible that Price could go down as the voice of fear for an entire generation. Prospero is definitely a fascinating character to follow because he does so many detestable things, but is still full of charisma and charm thanks to Price's star power.

Roger Corman certainly knew how to keep an audience captivated visually. Each scene in this picture looks like a work of art. The sets and costumes are so lavish, that they give instant credibility to Prospero's royal position and give off such a vibrant and elegant tone to the scenes. Even the opening scenes of the plague-filled village have so much detail in authenticity that it's extremely easy to immerse yourself in the surroundings. With a lot of the plot focused on the masquerade ball, the ball needed to have a grand scale in order for there to be a proper payoff, and the film does not disappoint. It's certainly one of the grandest balls I've ever seen on film (I meant a DANCE, get your mind out of the gutter.)

The Masque of the Red Death is based on a short story by Edgar Allen Poe, but you might find trouble comparing the film to the story. Most of Poe's stories are short in length, so one wonders how Corman would be able to turn it into a feature length film. Here's the simple answer: add to it. All you have to do is go to a movie theater and see an advertisement for a film starring Vincent Price and based on Poe's work and you're immediately sold. Then the film begins, and it takes you somewhere entirely different. Only until the very end do you encounter a narrative that resembles Poe's story, the rest is stuff added on and some of it resembles Poe's other story Hop Frog. I'm certain that the film's inclusion of devil worship probably shocked and surprised a lot of people, but that's where this film has significance. You go into it expecting something simple, and you are given something much more complex that compels you to go through the film until the very end.


Rating: 4 out of 5 stars

With an ending I dare not spoil, The Masque of the Red Death proves that there is much more to the horror genre than monsters and serial killers. Vincent Price and Roger Corman do an excellent job of adding to the folklore established by Edgar Allen Poe and bring forth a chilling tale that all horror fans should see at least once. So take this time, as Halloween is coming to a close, to watch the film and have one last haunting image fill your dreams (or nightmares) on this evening (cue the evil laughter from the end of Thriller...as voiced by Vincent Price).

The Masque of the Red Death and movie images are copyrighted by American International Pictures