#136. Civil War (2024)

 

 

Any movie with "sensory overload" as its default setting is one that will probably appeal to me, and Civil War is no different. This whole experience is anxiety-inducing, from the vivid imagery to the intense sound design to the general sense of panic and uncertainty throughout. And I like that this feeling only intensifies as we travel deeper and deeper into this nightmarish hellscape.

 

As for the political stuff, I can see why it divided audiences, but I was mostly okay with it. Like, sure, there's not a ton of depth or even commentary here (with results that feel slightly hollow in hindsight), but I appreciate the fact that the movie doesn't make many definitive statements. It's less preachy that way, and I think it fits with the ethics (or lack thereof) of these photojournalist characters.

 

There were a few aspects that didn't really work for me (the murky visual style isn't to my taste, a few of the plot developments struck me as dumb and contrived, and I think the story loses something once we reach D.C.), but, on the whole, I found this to be a riveting, eerie, and mournful little dystopian thriller.

 

Grade: B+

#98. Fear and Desire (1952)

 

 

A.K.A. Shape of Fear

 

Prior Viewings: 1

 

Glad I finally got to see a version of this that doesn't look like it was filmed on newspaper.

 

Most people place Fear and Desire at the very bottom of their Kubrick ranking. Even Stanley himself disowned it (which is no surprise, considering how big a perfectionist he became). I don't disagree with those assessments, but I will say that, watching this one again, there's more promise here than I once thought.

 

Granted, it still feels like a first effort, with forced abstractions and clunky narration, but I started to notice the stylizations this time. There's a lot of stark lighting and harsh angles and extreme closeups, all of which drive home the madness that Kubrick would soon be renowned for (with shades of Paths of Glory and Full Metal Jacket sprinkled throughout), even if these qualities aren't fine-tuned just yet.

 

You might think I'm being kind to the movie simply because I'm a fan of its director, but I'd argue that the inverse is more accurate. If I had no idea who was responsible for this, the keen eye and strange vision on display here would be enough to make me curious about anything else carrying the same credit.

 

Grade: B-

 

#96. El Cid (1961)

 

 

The issue I take with a lot of these double-VHS epics from the early '60s is that they almost always felt the need to turn their heroes into saint-like figures, robbing them of personality and depth in the process. It's Ben-Hur and Spartacus all over again: when the protagonist isn't interesting, I'm only gonna be so invested in the story - which is kinda lethal when we're dealing with a three-hour runtime.

 

And it's a shame, because these movies really are quite impressive otherwise. As expected, the production design is simply breathtaking here, with elaborate costumes and sets captured via meticulous detail and surprisingly decent cinematography. And the on-location battle sequences are equally spectacular, especially considering how many extras seem to be involved.

 

I can certainly appreciate and admire a movie like El Cid. As spectacle goes, this is pretty much the definition of a cinematic epic. But between the unengaging script, a few wooden performances (Heston's doing his typical "serious hero man" thing, to similar results), and the generally dry presentation, it can also be a bit of a chore to get through.

 

Grade: B-

 

#70. Born on the Fourth of July (1989)

 

 

Prior Viewings: 1 

 

Oliver Stone's greatest strength is also arguably his greatest weakness, and that's that his movies are so passionate that they tend to come off as preachy and overblown. But while this is undeniably true of Born on the Fourth of July, it's also so committed and vulnerable and openly satirical that it actually feels somewhat refreshing in today's landscape.

 

Unlike a lot of biopics, especially in recent years, this movie opts to depict its subject with unapologetic frankness. You can tell that Stone cares about Ron Kovic, but he also doesn't shy away from the initial naivete, nor the eventual depravity. This is a stark and comprehensive portrait of a man who, like many, was seduced and then abandoned by an American myth, and Tom Cruise goes all out (even by Tom Cruise standards) in attempting to capture him.

 

Also unlike a lot of biopics, Stone keeps this one fresh and interesting through some subversive tonal storytelling. The opening act is pure Norman Rockwell Americana, with a presentation so idealistic and over-the-top that the sudden, almost Lynchian change in mood feels all the more horrific.

 

Grade: A

 

#52. The Long Voyage Home (1940)

 

 

Here's a movie with a good foundation. I like the premise, about a group of fun-loving party animals aboard a tramp steamer during the war, and I like the cast that they put together to play this motley crew (particularly Thomas Mitchell, Barry Fitzgerald, and John Qualen). Frankly, any time a movie's about a minimal group of people in a claustrophobic setting, I'm in.

 

As a story, though, The Long Voyage Home didn't really grab me. I don't know if that's because it takes a little too long to get going or because it often lacks focus (either way, I'm concerned that the real reason is that I wasn't being patient enough), but I honestly only cared about these people when they were fighting for their lives on that soaking wet deck, or when one of them died. 

 

Fortunately, this is among John Ford's moodiest movies, thanks almost entirely to Gregg Toland's proto-noir cinematography (you can see the hints at Citizen Kane every once in a while, and those are always the strongest moments), so, even if the narrative wasn't hooking me, the melancholic tones and the shadowy visual textures were.

 

Grade: B

 

P.S. A possible indicator that I wasn't at my most engaged: I didn't realize John Wayne was attempting an accent until the final twenty minutes.

 

#36. Tora! Tora! Tora! (1970)

 

 

This is one of those war movies that feels more like a history lesson than a piece of drama. Generally speaking, that's not really my thing, and it doesn't always work for me here (especially in the opening forty-five minutes, which are ungodly dry), but I do think there's something admirable about the scrupulous, impartial approach that it takes.

 

Specifically, I'm talking about the fact that we get to see everything from both perspectives. And while neither side ever bothers to develop any of its characters, and everything runs kinda grey (especially on the American front), I think the movie finds some energy in those moments of cross-cutting as the tension begins to mount.

 

This pays off with the extended attack sequence, which, while overlong, is so technically remarkable that it mostly makes the slow build-up worth it. And I also appreciated that, right through to the very end, the movie never chooses one side over the other. I still think the emotional impact would've been far greater if the human element was more present, but, as textbook chapters go, this is an impressive recreation all the same. 

 

Grade: B

 

#26. The Train (1964)

 

 

When it comes to action movies, or maybe just movies in general, I tend to have a better time when trains are involved. The more trains, the merrier - that's what I say. So a movie literally called The Train had a lot to live up to.

 

Fortunately, it's directed by John Frankenheimer, so we're in good hands. He knows how to establish a big scale while keeping everything taut and tight, making for a thriller with both high stakes and personal characterizations. It's kinda modern in that sense, though that could also be because it basically plays out like a heist movie, or because it leans so heavily on explosive spectacle.

 

Both of these elements should probably intrude on the grim premise, but they really don't, and I'm guessing that's due to the fact that everything feels so authentic. We're dealing with real locations, real trains, real stunts (which might explain why Lancaster's here, even though his character is supposed to be French), and real explosions. On top of creating a viscerally sweaty and industrial texture, this really puts into perspective the risks these guys are taking, and it forces you to ask whether any of it is actually worth the effort in the first place. But I guess that's war for you. 

 

Grade: A