Harrison Ford > George Clooney (in my opinion)

<--- You cannot deny this face
I honestly do not think anyone reads this thing anymore, beings that we are at the end of the school year (tear, tear!) But since I'm kind of bored and waiting to have din din and I also don't want to go workout right now so I decided to write on this blog thing. About movies, of course.
Anyway, good news...
I saw one new movie this past week, Indiana Jones and The Kingdom of The Crystal Skull. Sadly, I have not seen the other Indy movies, well maybe a little bit of some of them but not ALL of them and not in chronological order and I was probably ten at the time. Anyway, I really liked this movie. Harrison Ford is back as the sarcastic, somewhat hard-boiled detective, brooding hero that is Indiana Jones. Along with Ford, Cate Blanchett plays an icy femme fatale named Irina who is hell bent on finding out practically everything and gaining control of an alien crystal skull. Indiana runs into Mutt Williams, played by Shia LeBouf, and it turns out that Mutt's mother Marion Ravenwood, played by Karen Allen, is an old flame of Indy's and is captured by Irina and her KGB crew. Along with Marion, Oxley, an old professor friend of Indiana's is also captured and used to find out the meaning behind the all-crystal skull of the aliens. Are you still with me? Ok, good. Of course, action ensues with some awesome bullet dodging and choreographed gunslinging and sword fighting. There is romance, humor, and the occasional impressive shot. The classic Indiana Jones themesong is also included. And don't worry, Indiana Jones still wears his classic fedora, whip, khaki pants, shirt and brown leather jacket. Yes, Harrison may be up there in age but he sure is aging gracefully, or rather, broodingly, ruggedly and heroicly... as well as keepin' it PIMPIN.

spicy!

Kiss Me Deadly
The Noir film Kiss Me Deadly plays on everything we know about the Film Noir. It was done and released in a post-WWII era and released as a "B" movie. Kiss Me Deadly has no famous actors starring in it, but it still seems to hold up as one of the most influential Film Noirs. This is due to the eerie plot and archetypes that fit everything about Film Noir. The main character, Mike Hammer, is a hard-boiled private eye who is no saint himself. He lives in the present and narrowly escapes the impending doom-like future due to instances of lucky breaks, help from Velda his love interest/employee, and with his ability to hurt people with his hands.
Kiss Me Deadly is shot in black and white and this adds to the serious gloominess of the film. There is great use of shadows which create depth and suspense to the plot which plays on the fears of the American public during the Cold War. The story is centered around a mysterious box called the Great Whatsit; Mike Hammer meets a troubled girl named Christina who is running along a deserted highway road naked under a trench coat. Christina is out of breath and tells Mike not to forget her because she believes something bad will happen to her soon- and she is right. Mike and Christina find themselves in hot water, Christina is murdered while Mike narrowly gets away. Later on, Mike finds out that Christina knew something that the government didn't want her to know. Hammer is set on finding out why Christina was killed and to avenge her. Along the way he meets Lily, Christina's femme fatale roommate who is not as she seems, and thugs who are out to get him around almost every corner. In the end, it all leads up to the Great Whatsit, a mysterious and radioactive box. Yes, this doesn't seem like the most plausible or believable script but hey, it is Hollywood. And it did scare the American public, and not just with the subject but with the blatant sexuality. A naked woman being tortured, make out sessions between Hammer and Velda... Can you say spicy for the fifties!

Science vs. Romance... OH AND SOMEBODY BETTER BRING TREATS TOMORROW

It is truly fitting that Spring is on the move. We have just finished the Screwball and the Romantic Comedy unit. While they both focus on love and comedy, Screwball stresses comedy while the Romantic Comedy stresses romance. The Screwball focuses on the plot around the romance, the craziness that usually ensues around the two main characters. And of course, it has to be a funny situation. In His Girl Friday, Hildy Johnson plays the un-typical role of the strong and sassy heroine, while her ex-husband Walter Burns, playes the counterpart and source of friction for Hildy. There is obvious flirtation and romance but it is overshadowed by the crazy plotline as Walter and Hildy hide a man on the run. Recent Screwball movies include the Kenneth Branagh version of Shakespeare's Much Ado About Nothing, and the Sandra Bullock film Two Weeks Notice. What I love about the Screwball is that the typical roles are reversed, the female is dominant and she gets some good lines too.
Ah, the Romantic Comedy. The Romantic Comedy's main focus is on romance, of course. The main characters take on the roles of the lovestruck woman and the heroic man, and, of course, they end up together in the end. There are humorous moments that add to the romance, or if comedy is not related to the romance, it does not overshadow it. The Romantic Comedy we watched was Eternal Sunshine of the Spotless Mind. Joel and Clementine are in a relationship until one day Clementine doesn't remember Joel. This is because she has had her memory of him erased. Yes, erased. The main focus is on the deteriorating relationship between Joel and Clem, there are funny moments and they contribute to the relationship and the fact that it is becoming nonexistant. The movie is dark and at first glance it does not seem like a Romantic Comedy, but it is. The main reason why people believe this is because nowadays people seem to mistake the Romantic Comedy for the ever powerful Chick Flick.
The Chick flick and the Romantic Comedy are not the same, I repeat, they ARE NOT THE SAME. The Chick Flick is a lot like the Romantic Comedy, they are both centered around romance and usually feature a woman who gets herself into comedic trouble (all for the romance- or either it doesn't detract from it- of course). But while the Romantic Comedy appeals to everyday people, the Chick Flick appeals to, well, chicks. And this means that there is the obviously-hotter-than-normal male interest (think James Marsden in 27 Dresses and Brad Pitt in Thelma and Louise) who is too perfect to be real, the female lead always owns a great wardrobe (Devil Wears Prada) and , and undying love speeches made to the female while she is crying (Jerry Maguire). In contrast, the Romantic Comedy showcases men who may not have perfect bodies or profess their love on a daily basis (When Harry Met Sally) but they are realistic and relatable. The women may not have the greatest duds (I Capture the Castle), but they make that up in their humor and personality. Don't get me wrong, I love a good chick flick, but what I really enjoy is the kind of movie you can feel good, laugh at, and enjoy with a guy who doesn't go groaning to the theatre when you mention the title.

WILD, WILD, WEST

For today's post, I'm obviously writing about the western film genre because we have recently finished it. For the most part, the western has surpasssed my previous notions about the genre. I had always thought that westerns were long and boring with cowboys and Indians along the way. In fact, there is a lot more to these films; the western is somewhat like a hero-journey, kind of like The Odyssey. The main character is usually a man who is somewhat of a rebel with a cause, whether it be revenge or helping a damsel in distress. He is rugged and handsome, not baby-faced and young but experienced and brooding. As we learned in Clint Eastwood's Unforgiven, he can be a man past his prime somewhat unsure of exactly what he is doing. In John Ford's Stagecoach, John Wayne is the protagonist who is an anti-hero; he is going to jail yet he is good at heart and treats people with the respect that they deserve, rather than the respect that society has given them.
Along with the brooding hero, there is the timid man. This is portrayed by Mr. Peacock in Stagecoach and the novelist in Unforgiven. He is scared and adds comic relief with his scared actions and submissive ways. Along with the timid man, there is the prostitute (or sometimes prostitutes) with a heart of gold. She is pretty and kind, and she cares for others whether they be fellow prostitutes or another member of society. The prostitute is usually the opposite of what most people think a prostitute is like; she is relatable (in Stagecoach Dallas is kind and loving towards Miss Mallory and her baby) and looks out for others (the prostitutes band together in Unforgiven). The prostitute usually develops some kind of a relationship with the hero.
Now, if you are like me and how I used to think that the western was boring, you must rent a western film to prove yourself wrong. In this genre there is action from cowboys vs. cowboys to cowboys vs. Indians. There is love, sometimes between prostitutes and sometimes between each other (BROKEBACK MOUNTAIN!! Doesn't that count?!) There is even humor mixed in with a plot that usually centers around a looming fight.
So if you're unsure of what you want to watch on a Saturday night, go to your nearest Blockbusters and run towards the western genre!

Plains, Trains and Automobiles

What do you get when you throw together two of the eighties biggest comedians, the writer of such hits as "The Breakfast Club" and "Sixteen Candles", and a cross-country road trip? Well, you get a laugh out loud, heartwarming, and very quotable movie called "Planes, Trains, and Automobiles".
This 1987 classic movie stars Steve Martin as Neil Page, an uptight and somewhat pessimistic executive who wants to be home for Thanksgiving on time; it also stars John Candy as Del Griffith, a kind-hearted and optimistic man who happens to meet Neil when they both vie for a taxi. From then on, the two continue to run into each other and due to bad weather and flight cancellations, they decide to embark on a journey to get Neil home in time for the holidays. On their way, they meet a woman who gave birth to a child that came out sideways, drive on the wrong side of the highway, and spoon each other in a motel. Each of these moments is not only memorable because of the absurdity, but because of John Hughes' dialogue that makes the somewhat unreal situation quite real. The characters feel like they could be people you know; Neil Page could be your uptight and conservative father with a short temper, while Del Griffith is your best friend's cool and understanding dad.
Hughes, who is the writer, director, and producer, incorporates the use of different camera movements and editing to emphasize the comedy and hold the audience's attention in each scene. For example, in the scene in which Neil and Del drive on the wrong side of the highway and are bypassed by two semi-trucks, quick shots are used to hold the audience's attention and to create a thrill in which the audience doesn't know what will happen next. We are shown cuts of Del and Neil, and within these quick cuts are different shots of the men dressed in costume, such as Del dressed as the devil. Another use of a shot for comedic response is when Del and Neil decide to shack up together and have to spend a night in the same bed. The camera pans starting from Del's body and makes its way to Neil, who is spooning with Del. It is truly hilarious and this is helped by the fact that it is filmed with just the right camera movement.
"Planes, Trains and Automobiles" at first glance might seem just like an eighties version of "Superbad" or anything that Will Ferrell makes nowadays. But this movie is mainly about the relationship of Del and Neil, two unlikely friends who bond together and help each other in unexpected ways. John Hughes does a magnificent job of creating funny situations and subtly incorporation the message that friends are what make the hard moments in life tolerable.
The characters seem to grow throughout the movie, and truly learn about what it means to be a true friend. I won't give away the ending, but I will say that it made me smile and my emotions were heightened by the eighties synthetic pop in the background- probably the only thing dating this otherwise timeless film.