In The Gold Rush, The Little Tramp is in the Alaskan Klondike as The Lone Prospector.  Gold doesn’t seem to be the main concern during the harsh winter, as he stumbles upon a cabin.  He, Big Jim (Mack Swain) and a wanted man, Black Larson (Tom Murray), run some fun gags as they struggle to survive.  The act is wrapped up as abruptly as it began and soon The Lone Prospector is in a snowy boom-town, with eyes for a lovely dance hall girl, Georgia (Georgia Hale).  As usual, she is far out of his league, but to spite an aggressive admirer, Georgia asks “the most deplorable looking tramp in the room” to dance.  The Little Fellow has high hopes for he and Georgia, but there may be a mix of heartbreak and an unexpected rush of luck for them both.

Though this film was silent in 1925, it was re-released in 1942 with a musical soundtrack and a voice-over narration, spoken by Chaplin.  This odd mix of a silent-talkie is what I received from Netflix (which they did not care to mention and claimed was only 69 minutes long, but not every company is perfect).  In the narration, Chaplin not only explains the present situations, but also fills in the dialogue.  I guess this helps the film flow more organically than the stop-and-go of reading in a silent film, but I feel it also detracts from it’s original charm.  I hope to see the original silent version of the film someday for further comparison.

There are many fun and memorable scenes in The Gold Rush.  Many Chaplin fans will recognize the boot-eating scene (complete with a side of spaghetti like shoe strings).  The dancing rolls scene is such a whimsical and wonderful bit that has become legendary in film history.  The Tramp’s wardrobe malfunction while dancing with Georgia is a hilarious gag that embellishes perfectly to the end.  And how he celebrates her accepting his invitation for New Years is one of the most joyous and adorable moments I’ve ever seen on film, perfectly punctuated at the end.

If I had to pick just one favorite scene from The Gold Rush, it would have to be when the cabin is halfway off a cliff.  The Tramp and Big Jim wake up the morning after a snowstorm to an unbalanced feeling, which they both write off hilariously as a hangover.  As they move around the small cabin, they become increasingly aware little by little that something else is off balance.  The whole scene builds both the gag and suspense wonderfully to the very end.  I was laughing and waiting on the edge of my seat like no other film has done to me in a while.

The Gold Rush is one for all film and Chaplin fans to check out.  It’s fun, sweet and full of iconic and inspiring gags.  Whether you can only find the 1942 version or the original silent, it is worth seeing and a lot of fun.  This is a wonderful Chaplin film, guaranteed to put a big smile on your face.

“And of course at that moment, Georgia would forget her gloves.”

Don’t get me wrong, I do think Blade Runner is a good movie.  The story is interesting enough, we’ve got Deckard (Harrison Ford) coming out of retirement for one last run to round up a few stray replicants.  From what I understand, replicants are bio-engineered super smart people used as slaves that are illegal on Earth.  Why you would create slaves smarter than their masters doesn’t make sense to me, but that’s for another time.  Anyway, we watch Deckard run through the hazy LA streets, fly in cool flying cars and be a basic bad-ass while a few rogue replicants are causing trouble for their freedom.  It’s a great ride, and to stir up the pot more, he falls in love with a replicant.

Blade Runner is an extremely visual film.  The images of a wet, dreary LA, enveloped in layers of fog and neon lights beaming behind it always blows me away.  The shots of the city skyline are beautiful but then the flames shooting up add an unexpected archaic element.  The wild, futuristic costumes and sets have a bit of a punk rock vibe with some classic noir aspects.  The only Oscar nominations the film received were for art direction and visual effects.

However, some of the acting throws me off.  It doesn’t feel real, and sometimes crosses the line to where I can’t take it seriously (“Wake up! Time to die!”).  Yet, I find it understandable.  These replicants are not real humans and it’s stated that they don’t have as much emotional experience and are more detached.  I’m not sure if that can really justify moments that make our characters seem so cookie-cutter and out of touch.

I can’t wait until 2019 when everyone complains about how Blade Runner obviously got the future all wrong.  I can tell you right now, we’re not going to have flying cars, not even in LA where they desperately need something to alleviate the traffic.  No amount of climate change will turn LA into a rainy, dark place in only 6 years.  And there is way too many people smoking, but hey, that adds to the foggy noir atmosphere.

Of course, there is the big debate people get into after this film: is Deckard a replicant?  The evidence is ambiguous, he does seem emotionally detached and smarter than most humans.  My thought has always been, perhaps they needed a replicant to find and “retire” other replicants.  But what a can of worms that becomes at the end!  In 2000, Ridley Scott, the film’s director, came out and said that Deckard is indeed a replicant, much to Ford’s dismay.  So much for debating now, but it’s still fun.

I guess, in the end Blade Runner is a pretty awesome film.  It’s visually striking, has some great sci-fi elements and has a good mix of action and noir.  The fact that I’ve never been able to get into the story is probably just me, however by the end I am loving all the symbolism and meaning I find in Roy’s final decision.  And the philosophical ideas separating humans and replicants swim in my mind for days after seeing Blade Runner.

“The report read “Routine retirement of a replicant.”  That didn’t make me feel any better about shooting a woman in the back.”

Renton (Ewan McGregor) is our main character, a skinny junkie in Edinburgh.  He narrates with his cocky, thick Scottish accent, to give us more insight to his decisions and feelings on drug use.  He shows us his friends: Sick Boy (Jonny Lee Miller) and Spud (Ewen Bremner) are fellow addicts.  Sick Boy is more of a leader while Spud is a sincerely lost guy, just sticking by his friends.  Tommy (Kevin McKidd) starts off as a clean cut guy who chooses working out over drugs, until his girlfriend dumps him.  And Bigbie (Robert Carlyle) gets off more on physical violence.  It’s amazing how he can carelessly instigating bar fights.

I didn’t expect this film to dabble in surrealism, but some of those moments were the most vivid and memorable.  They also help us to understand Renton’s mind under the influence.  As he fishes in a nasty toilet of his own fresh feces, we see him climb in and then swim around in crystal blue waters for what he’s looking for.  It emphasizes the importance and grandeur of looking for the drugs he just….expelled.  It’s a wonderfully gross, yet engrossing scene.

One of my favorite scenes is after Renton’s parents bring him home after an accidental overdose.  They lock him in his childhood bedroom to give him time to let the drugs wear off.  But this isn’t a simple cleanse, his mind runs wild with hallucinations fueled by his guilt: one of his friends rattling chains against his door, a baby crawling across the ceiling.  The whole scene is very intense and unsettling, making us understand Renton’s mental and physical anguish as he the drugs wear off his body.

The correlation between drugs and sex in the film is very interesting.  Characters regularly use one for the other to get their chosen highs.  For Renton, he goes between the two and he experiences the highs in very different ways.  Perhaps some of the characters, particularly Spud, whose girlfriend holds out for fun, choose drugs in place of sex.  One without the other seems to work for these guys for the most part.  Unfortunately, we see the grim results for those who mingle the two too closely for too long.

Trainspotting seems to be a very under-appreciated film.  At the Oscars, it was only nominated for adapted screenplay.  Yet, it is currently ranked at #146 on IMDB.  This film holds its own against the best picture nominees of 1996, and I can see it trading places with any of them.  All the acting is solid and believable and Danny Boyle’s direction holds such a vibrant energy, like smack running through fresh veins.

Trainspotting may not be for everyone.  We watch these guys do some hard drugs, nearly waste away into their high energy lifestyle and see some disturbing images that could make the most far gone sober up immediately.  For a film fan, it is one to seek out.  It’s considered one of the best British films, and I believe it is very accessible for most Americans.  This film helped project both Boyle and McGregor into star status.  The quick editing, high energy actors, lively sets all just add up to an unforgettable film experience.

“This was to be my final hit, but let’s be clear about this.  There’s final hits and final hits.  What kind was this to be?”

The documentary follows multiple teenagers and their families showing their unique stories of being bullied.  There’s Alex, a boy who is a helpless punching bag on his school bus.  Kelby is a girl who recently came out as lesbian in her small town.  She has attempted suicide, but her supportive family and friends have helped her reach a brighter place.  Ja’Meya was a high achiever until felt that the only way to stand up to her bullies was to pull out a gun on them.  We watch as she and her family await trial.  Then there’s the tragic stories of Tyler and Ty, two boys who committed suicide to escape their bullying.  Their parents cope and work hard to keep their son’s memories alive and start a movement to change the way bullying is handled across the nation.

For those who may still believe that bullying isn’t a big problem, or that it’s “just kids being kids”, they just need to watch a scene or two from Alex’s bus heartbreaking rides.  The things other children say or do to Alex is just awful.  An older boy threatens Alex’s life, with shocking language, just for talking to him.  Later, we see people sitting on him, throwing things at him and stabbing him with pencils.  Not a thing is done and Alex just protests politely to no avail.

Some film fans may remember the turbulence over the MPAA rating Bully would receive.  At first, it was given an R rating, due to language.  Since the film was made to educate a middle school audience, the creators edited out the high profanity scenes and the film eventually got a PG-13 rating, so that children would be admitted to it.  I don’t like the idea of a cop out that just softens the blow of reality, but admire that the main message would more easily get to its intended audience.

The scene that struck me the most is when Alex’s principal talks briefly with two boys she witnessed some bullying between.  At first it’s not evident who was bullying who, and perhaps the principal didn’t know either, so she simply asks them to shake hands.  The bully gladly complies, probably glad to face no real punishment.  The victim resists, knowing that more should be done.  Once the principal dismisses the bully, the frustrated victim explains the situation more; he tries to avoid his bully, and the bully has been told to stay away from him, but it’s not working.  The boy is clearly angry and helpless, yet his principal relies on her quick hallway confrontations with no punishment.  The whole scene hurt for me to watch, I have seen the same thing in my own schools as a kid.

While Bully isn’t technically a great film (it seemed easy to lose track of our far flung characters, and their climactic moment coming together didn’t bring much impact), it carries strong stories and an important message that needs to spread.  Bullying may seem like a childish issue, but the systematic mental abuse is claiming the young lives of good kids.  Parents don’t know 100% what it happening at their child’s school, or at what end of the spectrum their children may lie.  I would strongly suggest that all teachers, parents and children over the age of 12 see this film.   Currently, it’s available on Netflix Instant.  There is some strong language, but not much.  It’s nothing compared to what most middle schoolers hear in their hallways.

“I’ve never had real friends that would stick around and help me.”

Sophie’s Choice is the story of three friends, their time together and Sophie’s past.  Stingo (Peter MacNicol) is a young, naive writer who moves to Brooklyn from the south, looking for more experience in life.  In his boarding house he meets a couple, Sophie (Meryl Streep) and Nathan (Kevin Kline).  Sophie is a beautiful Polish woman who survived time in Nazi concentration camps.  Nathan is an eccentric man, whose moods can shift from jubilant to angry-depressive bewilderingly.  The three becomes friends and along the way Sophie confides more and more of herself to Stingo.

Compared to the most depressing film experience of my life (watching Schindler’s List alone in my college dorm room on a Saturday night, which I do not recommend), Sophie’s Choice isn’t too bad.  Sure, we see that Sophie’s and Nathan’s relationship is only toxic or that Stingo probably won’t find happiness in Brooklyn, but not all their time together is awful.  Thing is, they do have some good times, wedged in between the spiraling downturn.

And then there are the holocaust memories.  No one wants those.  They’re so bleak and depressing but nothing shown is too awful.  Until Sophie tells Stingo the one thing she has never told anyone.  That, that awful choice, the one I knew was coming, nothing can really prepare you for it.  I imagine if you do have children, it’s even harder to watch.

A main problem I see in this film is that Stingo’s story seems a bit lost in the plot.  I understand that he’s not the main interest, that goes to Sophie, but he’s our narrator, the anchor in this story and we just seem to watch everything happen around him.  There are scenes that pique my interest about Stingo that just happen and are never referenced again.  What happened to that girlfriend of his, Leslie?  Was his writing getting anywhere?  How does he feel about becoming a third wheel to Nathan and Sophie?  But I have to remind myself that Stingo is simply our gateway to observing Sophie.  And this film was nominated for best adapted screenplay, so what do I know?

Meryl Streep’s portrayal of Sophie is amazing and obviously Oscar deserving.  While at first glance Sophie is meek and frail against Nathan’s strong presence, she becomes an amazing woman who has been through so much.  She is this beautiful combination of broken, struggling, painfully trying to find reason to live and yet able to enjoy life.  The worst has happened to her, she has survived, but perhaps she doesn’t know why.  And she can only move on with Nathan, or somebody, finding worth in her.  She has many endearing moments and unexpectedly hilarious lines that come out of Sophie’s broken English.  That Polish accent sounds authentic and must have taken a long time to master.  And that scene when she arrives at Auschwitz, it sealed that Oscar envelope.

The film was nominated for five awards total: cinematography, original score, costume design, adapted screenplay and lead actress.  Streep took home the only Oscar for her role.  Among the best picture nominees, Sophie’s Choice could have easily been swapped in for one of the films.  Probably not E.T. or Gandhi though.

Sophie’s Choice is one of those movies film buffs feel like they should eventually see, but may not.  It’s long, not a very fun ride, gets depressing and ends that way.  The main reason to see it is for Streep’s acting.

“-You were sent to Auschwitz because you stole a ham?                                                                     –No, I was sent to Auschwitz because they saw that I was afraid.”

Readers, please be patient with how vague my following review may seem.  I want to discuss The Prestige spoiler free, yet I know that the slightest mention of an event can bring an avalanche of spoilers to the unsuspecting reader.  Believe me, this film is quite a ride the first time you see it, free of any preconceived notions.

In Christopher Nolan’s 2006 film, The Prestige, we witness an ongoing feud between two rival magicians in Victorian London.  Christian Bale plays Alfred Borden and Hugh Jackman plays Robert Angier.  They first work together as plants (volunteers that that seem picked at random from the audience) in an act, but after an incident occurs, they become bitter enemies sabotaging each other’s solo careers.  Robert yearns for what Alfred has: family and an gobsmacking transported man act.  He becomes obsessed with discovering Alfred’s secret to the trick and go to many lengths to create his own transported man act, but at what cost?

I have seen this film at least five times now, and I still find myself trying to wrap my mind around everything.  The first time I saw this, I was a bit lost at times, but always fascinated.  We are not shown everything in perfect chronological order, but rather the order to which will best pique our interest.  Like I said, Nolan is creating a film like a magic trick.  In every act he must show us the pledge, then the turn before revealing the prestige.  If it’s not leaving you searching putting the puzzle together, he has not done it quite right.

At the Oscars, The Prestige was nominated for only two awards: art direction and cinematography.  That would make you think it’s a very visual film.  It is, especially when the connections with Tesla come into play, but the strength the film carries is in it’s complexity and how it heightens our curiosity until the very end.

There are some fun, yet downplayed surprises.  David Bowie plays a role as the famed Nikola Tesla.  And only in my latest viewing did I realize that Tesla’s assistant was none other that Andy Serkis.  So nice to see him as a non-CGI character.  There is also Scarlett Johansson, as a lovely assistant, and Michael Caine as a manager connecting the two rivals from beginning to end.

I understand there is a point in the film that some people believe it breaks ranks.  Suddenly the film’s perceived reality is more than it seems.  I don’t worry about it, this film holds my suspension of disbelief.  What I always find intriguing is trying to figure out the difference between the prestige and the man in the box.  Is it really the same person?  What are the consequences?

While The Prestige is still a very young film, I believe that it is destined to become a classic.  It’s simply a tale of rivalry, but set to the era of early of magicians, like Houdini.  It becomes an intoxicating ride that twists and turns in ways you could not have expected, but love to believe.

“The secret impresses no one.  The trick you use it for is everything.”

In 1926’s The General, Johnnie Gray (Keaton) is an engineer, driving his beloved locomotive, The General, down the rails.  His other love is a southern beauty, Annabelle Lee (Marion Mack).  When the Civil War starts, he runs down to be first in line to enlist, hoping this will impress Annabelle.  However, the Confederate army won’t take him, claiming he is more valuable as an engineer.  His chances with Annabelle seem shot, unless he can get into one of those gray uniforms.

When Union spies steal The General, Johnnie acts quickly to chase after them in a different locomotive. A great deal of the film is a chase, and it is fantastic.  There are constant obstacles that turn into great gags, thrilling suspense and daring stunts.  Little does Johnnie know that he’s chasing these spies into enemy lines, or that they have Annabelle held hostage on board.

If you have read my review of The Train, you may be aware of my fierce love for old trains.  Let’s just say, The General nearly drove me out of my mind.  What magnificent trains!  I squealed with delight when Keaton was moved up and down while sitting on the coupling rods.  The trains used in the film feel more like characters than machines.  The love story between Johnnie and Annabelle is no match for the love we feel for The General, that little engine who can.  And just as Johnnie is pitted against the baddies from the Union army, we feel a struggle between The General and the other locomotive, The Texan.

While The General is primarily considered a comedy, it is very much an action film.  The stunts Keaton performed were very dangerous.  Throughout the film are scenes showing him and others moving from one train car to the next, even climbing on the very front of the engine while it is in motion.  The most spectacular stunt is the big bridge scene toward the end of the film.  Wanting a genuine reaction, Keaton did not tell the extras in the scene that the train would cause the bridge to collapse.  Hopefully everyone stayed far enough from the wreckage.  That big moment is amazing and really seals the film.  But that poor train was just left behind and was scrapped for metal during WWII.

The General is an essential movie for any film fan.  Not only is it an important film from the silent era, but extremely influential to this day.  And it will not disappoint.  The dangerous stunts, the action, the constant suspense and obstacles in Johnnie’s way keep us at our utmost attention.  The story and character arcs have a very pleasing symmetry, turning the tables perfectly.  And the comedy keeps it light and a very fun ride.

“If you lose this war, don’t blame me.”

Over the past twenty years, Jurassic Park has become one of my favorite films.  It has two main elements I loved as a kid: adventure and dinosaurs.  As I got older, some of the more complicated themes came to light in new ways.  All the technology holding Jurassic Park together is no match for the unbridled fury of nature.  My mind melted when I first figured that out, since then I have held the utmost respect for nature.  The effects blew me away as a kid and they still hold up today.  And I will dare to say that this is one of John Williams’ greatest compositions, I could listen to the soundtrack all day (sometimes I do).

I don’t think I can pick one favorite scene from the film.  The t-rex attack is a wonderful bit of terror, the raptors hunting the kids in the kitchen is a brilliant moment of modern suspense and the dilophosaurus attack (the fanned, spitting one for non-dino-nerds) is a great surprise packed with sweet revenge.  But the scene where we first see dinosaurs packs a different kind of raw emotion, I can’t help but get caught up in it.

In the scene where Dr. Grant and Dr. Sattler see their first dinosaurs, I cry every time.  As a kid, it was a moment of wonder and excitement, and it still is, but it just hits me in a much more emotional spot now.  Seeing those creatures is an impossible dream, and yet for them, there they are, living breathing and doing all the things they only theorized they would.  I can’t even imagine how I would react to really seeing dinosaurs, or anything else I know is impossible.  And that music, it moves perfectly with our wondrous dinosaurs.  Did I mention how much I love dinosaurs?

Of course, the movie isn’t all happy times with the gentle giants.  Some of the scenes are pretty intense and could scare little ones.  Especially when the t-rex attacks the car with the children inside.  And the dilophosaurus scene is known for tricking kids into a false sense of security.

But when you really look at Jurassic Park, there is very little gore.  The most violent moment is when the t-rex eats Martin Ferrero’s character off the toilet, and it’s not bloody.  In fact, thinking about a man being eaten by a dinosaur off a toilet is kinda funny, in a very dark way.  Same thing in how we discover what happened to Samuel L. Jackson’s character.  All the big dino-attack moments are either with no blood, off camera or obscured behind something.

So parents, make your decision wisely.  If Jurassic Park only comes to theaters once every twenty years, you may end up raising a jaded dino/film fan if you don’t take your kids to see it now.  I love my parents for trying to protect me, but please, that horse head in The Godfather did more damage than Jurassic Park could.  And dad would call me into the room just in time for it, every time he found it on tv before I was six.  Jurassic Park feels like it was made with children in mind and I would highly recommend kids see it before the age of ten.

At the Oscars, Jurassic Park was only recognized for three technical awards.  The film won best sound, sound effects and visual effects.  Today, it is in the top 250 on IMDB, one of the 1001 Movies to See Before You Die and considered a classic that everyone is more than familiar with.

This evening, I plan to do what I wanted to do 20 years ago: sit my butt in a theater and hold on for a wild dino-filled adventure.  Sure, I’ve seen Jurassic Park over a hundred times by now, there will be no surprises.  That’s not the point.  There is still a seven year old kid inside me who needs to be in that theater and can’t wait to see Jurassic Park on the big screen.

“They’re moving in herds.  They do move in herds.”

Thank you for the autograph and the inspiration, Mr. Ebert.

Yesterday, I had just gotten off work and found refuge from the rain in my favorite coffee shop.  My mind was set to write a new review, but out of bad habit, I opened up Twitter, for just a moment, and saw the sad news.  Roger Ebert, the writer I strive to learn from most, my inspiration throughout this blog, had just passed away.

The barista could have guessed I had come across some bad news.  For a few minutes I just sat in disbelief, rubbing my eyes, shaking my head and refreshing my twitter feed as all the love for Roger came pouring through.  What a sad day for the film community, the strongest voice in film criticism was gone.  I’ll never forget the day I briefly met him, seeing all his life and energy shine through despite his tired body.  Though most of us knew of his diminishing health, you’re never ready for the end.

Most film bloggers love Ebert and follow his work.  From the early days of this blog, he has been my go-to writer to emulate.  I’ve strived to learn from his work, not just how to write about movies, but how to become a better writer.  Just earlier that day I thought to myself, “Shoot, I haven’t written a new review lately, Ebert wouldn’t have slacked off in my shoes.”

Over the past three years writing this blog, I have learned a lot from Roger.  On film criticism, I’ve learned that it takes practice, years of it.  It’s not always right to blame actors for a bad movie and if it is a good film (as most that I review are), it’s worth it to be kind and say something good about it.  However, never sacrifice honesty.  That may be the hardest part of film criticism, being brave enough to be honest, especially if you’re opinion isn’t the popular one.

As a writer in general, my God, Ebert’s lessons have been invaluable.  Not only his film reviews, but his blog posts, his twitter account, his memoir, everything he puts out into the world was done with such gusto and care.  They were pieces of him he shared with the whole world and his reach was farther than most writers, of our time or the past.  He connected us, the film community and beyond, in ways we could only imagine.  He made the most of modern communication and helped enrich our human experience.

From this inspired writer, we already miss you Mr. Ebert.  The world is a better place because of you.  Thanks for always being with us at the movies.

The film has a very lean plot that may not grab the youngest viewers.  In Paris, Zoe has a cat who wanders off every night.  She and her mother don’t know that he helps a thief, Nico, a man who recently has been stealing art and jewels.  At home, Zoe is mostly taken care of by the housekeeper, while her mother works hard as a detective.  Recently, Zoe’s father was killed by a gangster, Victor Costa, and her mother desperately wants to bring justice to him.  When Zoe decides to follow her cat on his nightly journey, she stumbles into Costa’s latest plot and needs to be rescued by her cat and his new friend.

In just over an hour, the film wastes no time packing all this action and creating memorable scenes, characters and very beautiful animation.  Just like in Zoe’s life, there isn’t much needless fluff.  Conversations with her mother are short and to the point.  Costa and his men don’t play around, if they did they might not have seemed so dangerous.  And there is no time for songs like in many animated films, here it would detract from the beautiful simplicity of the film.

While it’s animation can seem rather simplistic, it also has a highly artistic feel and brings unexpected beauty, especially in the climax.  With a film set in Paris, it’s impossible not to think of artists to compare this style of animation to.  The credits especially reminded me of Saul Bass’ work in film and the clean, geometric style reminds me of many modern artists with a dash of Picasso.  And when the action takes us to the rooftops of Paris and Notre Dame, the animation keeps up wonderfully, breathing new life into the familiar scenes.

Though A Cat in Paris may not become a quick favorite for most children, it’s worth a watch and suitable for the whole family (and in English on Netflix Instant).  Who knows, with the artistic style, the slightly noir story and Hitchcock influences, the film could bring some be a new and wonderful influence in a child’s film vocabulary.  This didn’t beat Cars 2 out of the best animated film Oscar nomination for nothing.

“It’s the daughter, she heard everything!”