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Filmmaker · 01-31-2000, 04:44 PM

STRANGE DAYS (James Cameron's and Kathryn Bigelow's audio/video blast is nothing short of phenomenal. One of the most extraordinary opening sequences in the history of cinema introduces us to a maelstrom of a film, with incredible photography, editing, performances, and script. The film is an exhausting emotional powerhouse that combines all the things we've come to love from the works of James Cameron (the curse of technology, humanity's suicidal tendencies) into a vivid, complex tapestry. Perhaps the most underappreciated film of them all!

THX-1138 (a mind-bending mix of David Lynch and George Orwell, it is to George Lucas what FANTASIA was to Walt Disney--a shockingly adult departure from the type of films the director is usually known for, made with a degree of intelligence and sophistication that he isn't usually allowed to display in his works)

STAR TREK III: THE SEARCH FOR SPOCK (this film is always lumped in with the so-called poor odd-numbered TREK movies. Though its fire is always stolen by the action-drenched II, VI, and FIRST CONTACT, or the comedic turn of IV, THE SEARCH FOR SPOCK is actually the most powerful human drama presented out of all nine films. Admiral Kirk (and the rest of the ENTERPRISE crew) gives up his ship and his career, and must endure the death of his son, in a desperate gamble to save the most important thing of all--the life of his friend. It is a powerful, moving film about sacrifice, and in being so, has continued to be my very favorite TREK film. Unfortunately, I guess it doesn't offer enough bang or laughs to register as a big hit to general audiences...)

TWIN PEAKS: FIRE WALK WITH ME (There seem to be two types of TWIN PEAKS fans--those who were charmed by its quirky characters and funny, off-beat dialogue, and those who were intrigued and terrified by its supernatural overtones, and dark mystery. I am one of the latter, so this movie feeds right into what I love about this cancelled-before-its-time show. The movie is a tour-de-force of surreal horror, a shocking, painful exposure of the "cancer" that we always knew was lurking below the pastoral town of Twin Peaks, but were only treated to glimpses of on the TV show.)

LOST HIGHWAY (Another Lynch film, this one the most obtuse of all--like 2001: A SPACE ODYSSEY, it is a film to be experienced, rather than logically understood. It is to films what impressionistic paintings are to art. Lurid, shocking, confusing, abstract, and horrifying as hell, it is one of Lynch's finest moments--but take an Excedrin before you watch!)

William Peter Blatty's THE EXORCIST III (Eschewing the visceral thrills of the original, this film presents a refreshingly intellectual script about the nature of good vs. evil. It's thrills and chills are primarily of a more intellectual variety, making this a truly unique type of film. It didn't offer enough spinning heads and pea soup puke to register as a big hit with general audiences (who, ironically, probably would have dismissed it as copying the first film if it had), but the film is almost novelistic in its weight, and should be given another look.

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[This message has been edited by Filmmaker (edited 01-31-2000).]

01-31-2000, 04:44 PM	#2 (permalink)
Filmmaker Join Date: Nov 2000 Location: Jupiter and Beyond the Infinite	STRANGE DAYS (James Cameron's and Kathryn Bigelow's audio/video blast is nothing short of phenomenal. One of the most extraordinary opening sequences in the history of cinema introduces us to a maelstrom of a film, with incredible photography, editing, performances, and script. The film is an exhausting emotional powerhouse that combines all the things we've come to love from the works of James Cameron (the curse of technology, humanity's suicidal tendencies) into a vivid, complex tapestry. Perhaps the most underappreciated film of them all! THX-1138 (a mind-bending mix of David Lynch and George Orwell, it is to George Lucas what FANTASIA was to Walt Disney--a shockingly adult departure from the type of films the director is usually known for, made with a degree of intelligence and sophistication that he isn't usually allowed to display in his works) STAR TREK III: THE SEARCH FOR SPOCK (this film is always lumped in with the so-called poor odd-numbered TREK movies. Though its fire is always stolen by the action-drenched II, VI, and FIRST CONTACT, or the comedic turn of IV, THE SEARCH FOR SPOCK is actually the most powerful human drama presented out of all nine films. Admiral Kirk (and the rest of the ENTERPRISE crew) gives up his ship and his career, and must endure the death of his son, in a desperate gamble to save the most important thing of all--the life of his friend. It is a powerful, moving film about sacrifice, and in being so, has continued to be my very favorite TREK film. Unfortunately, I guess it doesn't offer enough bang or laughs to register as a big hit to general audiences...) TWIN PEAKS: FIRE WALK WITH ME (There seem to be two types of TWIN PEAKS fans--those who were charmed by its quirky characters and funny, off-beat dialogue, and those who were intrigued and terrified by its supernatural overtones, and dark mystery. I am one of the latter, so this movie feeds right into what I love about this cancelled-before-its-time show. The movie is a tour-de-force of surreal horror, a shocking, painful exposure of the "cancer" that we always knew was lurking below the pastoral town of Twin Peaks, but were only treated to glimpses of on the TV show.) LOST HIGHWAY (Another Lynch film, this one the most obtuse of all--like 2001: A SPACE ODYSSEY, it is a film to be experienced, rather than logically understood. It is to films what impressionistic paintings are to art. Lurid, shocking, confusing, abstract, and horrifying as hell, it is one of Lynch's finest moments--but take an Excedrin before you watch!) William Peter Blatty's THE EXORCIST III (Eschewing the visceral thrills of the original, this film presents a refreshingly intellectual script about the nature of good vs. evil. It's thrills and chills are primarily of a more intellectual variety, making this a truly unique type of film. It didn't offer enough spinning heads and pea soup puke to register as a big hit with general audiences (who, ironically, probably would have dismissed it as copying the first film if it had), but the film is almost novelistic in its weight, and should be given another look. ------------------ [This message has been edited by Filmmaker (edited 01-31-2000).]