  The first thing I noticed about Stalker was that sound told a separate story. While in modern films sound is mostly used to present realism, cutting-edge technology placing it's audience into visceral environments. Tarkovsky uses it to convey an emotion. Signaling out one specific sound that the audience will remember, or not using any sound at all, to build tension. There's something uniquely terrifying about the way Stalker conjures its mystery through sound, forcing it's audience to be on guard, or they might miss it. Stalker's atmosphere is devious, captivating, and especially gorgeous. Built on long takes that are an average of 88 secs each. Expertly framed and emotionally significant. It's also an incredibly well written script. Characters have long thought-provoking monologues about divinity and truth. Often in response to each others criticisms, or as an observation of the environment - the vividly hypnotic zone, which entraps people inside to keep them from reaching transcendence. In my book, Stalker would be right next to 2001: A Space Odyssey on the list of the most mind-bending works of cinematic history. Kubrick and Tarkovsky are two different sides of the same coin. Both of their films are visually arresting. Though Kubrick's films aren't governed by higher forces. His films all deal with human desire and often frustration with humans. Tarkovsky on the other hand makes movies about spirituality, God, and existentialism. The exact opposite of Kubrick's often cold vision. Stalker excels by being a about an exploration into a place governed by another realm.
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  When I was 12 I saw for the first time a naked woman on screen. I was instantly full of excitement and also shame. The excitement I understand was natural but the shame was a result of my strictly religious parents. Luis Bunuel's drama about eroticism understands both these sides of sexual emotions and explores them through the mind of our protagonist. Belle de Jour isn't her real name but it's what she wants to be called. She loves sex. She feels empowered by it. We learn that sex and love are not the same thing for her. She loves her husband but when she has sex she wants it to be about sex - not love. It's the reason why she won't let him touch her. We also learn that she secretly desires him to force himself on her. Bunuel explores both the conscious and subconscious impulses that drive Belle De Jour's needs. We experience her sexual daydreams, which she has often enough to begin confusing the audience. It's not an overstatement to say that Catherine Deneuve's performance is why this film is outstanding. Her often blank unassuming expression has inspired many female protagonists. But it's the moments where she's happiest that really make you fall in love with her. Watching her explore her sexual fantasies, while hiding from her husband, brought me the same excitement and shame as when I was 12. Not because of nudity, but because this perspective of sexuality is to me both beautiful and wicked. Right and wrong.
  What surprised me most about this movie was how much life seeped from its existential seams. I expected a dark film about life and death in a terrible time, but what I experienced was something every person ever can relate to. While it's imagery may have aged, our knight Antonius' dread of death and search for God will always be benchmarked into our brains. I know I'll never forget it. In fact I want to watch it again already. Antonius challenges death to a game of chess after returning home from the crusades. His general indifference towards his fellow man has sparked in him an existential crisis and he's desperately searching for the existence of God, while playing this game with death. This is a bravely spiritual film even if it may conclude with there being no God, which really depends on your perspective. It's spirituality shines mostly through it's sense of joy and love. Finding comfort in the presence of love or being in love during such a dark time. The many characters that accompany Antonius on his journey home all represent the different perspectives on living life and so I believe the people are key to answering his questions, which he realizes at least some before the game is over.
  This legendary film's influence can be seen still today. Influencing greats like Lord of the Rings and The Avengers. It is said this is the first film where a team is assembled to carry out a mission. Of course, it was also remade into the American classic 'The Magnificent Seven.' Indirectly spawning the spaghetti western genre. Samurai became cowboy in the west. For all these magnificent feats how does it stand alone as a film experience? It's absolutely wonderful, timeless even. Leaving the 200 minute film I immediately began writing about the film. I wrote 3 pages on the lessons this film taught me. The construction of this simple premise turned 3 hour epic is genius. Next to Lord of the Rings, I don't think another film takes as much advantage of time as does Seven Samurai. Every piece of it's story is well developed and deserving of it's time. Kurosawa and his team of talented filmmakers and performers are simply legendary.
  The space opera that started it all. A testament to originality and innovation that won't be matched again. Movie-making at it's finest creating fanboys that will eventually be the world's worst criticizing everything that dare breath the same air as this classic. Space battles, talking robots, lightsaber duels, all introduced and packed tightly into this entertaining sci fi epic. I had the pleasure of watching it with someone for their first time (a rare treat). It was wonderful to witness someone typically avoidant of old films enjoy this movie. A beautiful display of it's magical cinematic powers.
  Martin Scorsese's 1976 masterpiece - 'Taxi Driver' is more important in 2019 than ever. Travis Bickle is a cab driver in NYC. He's also an insomniac and a loner, who watches porn off broadway when he can't sleep. He is not someone you'd want to know. Robert De Niro's inspired work vibes heavily with Paul Schrader's script capturing the very soul of this character. He's fascinating to watch, often anxious, daydreaming, confident. Scorsese captures New York city like it's both a dream and a nightmare. Dipping in and out of Bickle's ever slipping conscious. Creating a visceral experience that's hard to look away from. It's importance in 2019 can be summed up by 'Joker,' which in many ways reincarnates Travis Bickle.
  "Are you here for an affair, sir?"
Fear, confusion, suffocation, and determination. Common phases of life for anyone coming-of-age. Benjamin Braddock just graduated college, which has become the true transition to adulthood. In many ways, this is one of the most original and cared for coming-of-age films of all-time. Mike Nichols delicately handles the movement of the camera creating a perfect balance between immersion and introspection. This a deeply personal tale that is highly relatable but its also an unconventional comedy. Dustin Hoffman is painfully awkward it's amazing. He captures the very soul of a young, wealthy, and riotously insecure white male. With Simon and Garfunkel handling the soundtrack, this is altogether a prized accomplishment in film and in it's genre. Over years and numerous viewings I've grown to love this film so much and I'll always be haunted by the uncertainty of it's final moment.   "I’ve seen horrors… horrors that you’ve seen.
But you have no right to call me a murderer." When I heard that a remastered 'final cut' of this masterpiece was releasing I was very eager to experience it again. Since I've not officially reviewed the original I figured this would be a great place to start. 'Apocalypse Now' is cinematic brilliance. I believe it has been since the theatrical release and it's continued to get better creating relevancy even today. This movie has one thing to say - war is hell. Past this simple, yet fleshed out and visceral experience, there is plenty of space for analytical discovery. Coppola's vision here contains; ultra-violence, napalm, playboy, acid. The audience is given time to digest each episode and feel the mood that he spent 30 million trying to make. There is no conventional plot and it's structure based on the bones of 'Heart of Darkness.' This gigantic film and great effort continues to live on because Coppola achieved, and Roger Ebert says it best, "Those moments as common in life as art, when the whole huge grand mystery of the world, so terrible, so beautiful, seems to hang in the balance." The 'final cut' features impressive remastering both visually and audibly but the true importance are the cuts made from the redux, which was a whopping 3 hours and 30 minutes. The final cut was said by Coppola to maintain the weirdness that was cut from the theatrical version without being as uneven as the redux. I agree.   "The gypsies. Some of them, have been on the other side. They know."
I sunk so deeply into Nosferatu within it's first hour. There is so much curiosity, beauty, and fear dripping from this masterpiece. I have gained much respect for Herzog through just three of his films, which have all have been unforgettable experiences. I haven't delved deep into German cinema. So the style here seems very foreign, yet forgiving. It's impressive; pure talent and ambition. The vampire is a role built almost solely for Klaus Kinski , who has also become one of my favorite actors. I'm glad this wasn't the first film I saw him in. Dracula is a character you simply can't unsee. Possibly even altering my perspective of his other great performances such as the mad music lover Fitzcarraldo. Nosferatu is unable to be pinned to a genre. The journey to Transylvania, the castle, the rats, the woman... It traverses drama, romance, and horror.   Herzog makes every effort to create a film experience undeniably real. I often forgot I was watching a movie and not a moment in history. It's age adds to it's talent and charm. It's Kubrick and inspiration for visceral experiences like The Revenant. There's so much depth to the production. The plot is fabricated by the imagery and score, which creates a dark, disturbing dream-like excursion. The last act playing out in accordance with it's title bridging the gap between the real and possessed. When you wake up you'll wonder if what you witnessed was really a dream... Take some time to appreciate this classic cinema.
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