eleven-2 Reviews

Julie and the Cadillacs (1999)

Shining Through, Parting Shots, nothing compared to this.

[1/10 · 27 November 1999]

The film was released in the UK without previews. The only sane solution if you've been one of the very few to have the honour, nay privilege, of seeing this masterpiece in a cinema.

Would others please join me in demanding an immediate release on video.

If you haven't seen this - rent a print, hire a screening room, get some beers and wait for lift off.

The guy taking tickets at the Birmingham cinema where 11-2 (junior) saw J&TC's was incredulous that someone had bought tickets (that afternoon there were a grand total of 4 in the cinema).

I'd like to start a Julie and The Cadillacs Appreciation Society ----- Is there anybody else out there?

Alien (1979)

Definitely better than the sequel

[29 July 1999]

It becomes more than a little depressing after a while, when people discuss this film and say: "It's OK, but Aliens is way better!" The reason, apparently, is that in Alien, "nothing happens," whereas Aliens is "Kick-ass!" Quite. The sad thing is, I know how they feel, since I used to agree with them. James Cameron's sequel has far more action in it - ie, weapons are actually used effectively against the aliens - and is a more traditional crowd-pleaser. Its main fan-base consists of undemanding teenagers, (who no doubt fast-forward through the first hour of the film, since nothing happens in it) who enjoy quoting amongst their friends such classic lines as: "Let's rock!", "Get away from her, you bitch!" and "F**k you!" I have nothing against this viewpoint as such, and they're entitled to their opinions, but it would be nice if they could justify them with something more than they do. It can hardly be insignificant that most of this Alien's detractors find it difficult to string a grammatically correct sentence together to oppose it; sorry if that sounds unpleasant, but I think it's unfair that such a brilliant and important film should be given such a raw deal so much of the time. I suppose, as mindless Hollywood action films go, Aliens isn't so bad, and the series as a whole is far superior to many others - but the first is the only one I could ever call a good film. It is far more intelligent, frightening, visually impressive, inventive, and far better acted, directed and scored than any of its sequels or imitators. As for James Cameron...I won't even start on why I hate him.

The Asphalt Jungle (1950)

Possibly the best crime film of all time

[29 July 1999]

A film that should get far more credit and attention than it does: people need to be reminded that it exists. This is one of those films - like Citizen Kane or Sunset Boulevard - in which just about every scene is a classic. It is made up of countless brilliant parts - the cast, the music by Miklos Rozsa, the direction by John Huston, the photography, the script, etc, etc - which come together to form the best crime film of the fifties, and possibly of all time. It's certainly one of the most influential; Stanley Kubrick's The Killing is a great film, but without The Asphalt Jungle it probably wouldn't have been made - the same goes for any number of thrillers that followed it, including the three direct re-makes. The Asphalt Jungle is necessary viewing for any serious filmgoer, and a landmark in cinema history.

Scarlet Street (1945)

Most depressing film of all time

[28 July 1999]

Edward G. Robinson gives the most subtle - and possibly the greatest - performance of his career in this, the most depressing film ever made. Such a devastating ending is hardly possible these days, and indeed wasn't supposed to have been in 1945. "Immoral, corrupt and tending to incite crime," they called it, "A Hollywood movie we can do without." Perhaps the subversive ending was Lang's answer to those who had criticised his 'cop-out' ending for 'The Woman In the Window' a year earlier. The other two leads - Duryea and Bennett - are brilliant as well, and all the actors make us feel in the end that no one has got what they deserved. 'Scarlet Street' has so many beautifully subtle touches in it that it really has to be seen several times in order to be fully appreciated: the parallel between Kitty and Chris' flower (his 'problems with perspective'); the expression that flashes over Kitty's face when Chris 'confesses' that he's a married man; the brief reference at the beginning to Chris's superstition, which will eventually bring about his psychological downfall. Like many Lang films, it deals with the concept of criminal justice, and is a clever, cruel and fascinating film - a little dated technically, but far ahead of its time, and one of the greatest and blackest film noirs from the forties. The climax is still one of the most chilling in film history - more frightening than most of the great horror films.