The_Centurion Reviews

The Last Duel (2021)

Ridley should have quit after Blade Runner

[4/10 · 8 April 2024]

He had one of the most underrated runs in filmmaking history with The Duellists, Alien, and Blade Runner. Unfortunately his career has never again reached those heights. In fact, I have ceased to view Ridley as one of the all-time greats based on the median quality of his films.

The Last Duel is probably the last straw for me. I couldn't even make it through the last third of the film before turning it off. What an over-bloated waste of my time.

I skipped Napoleon. I have had much interest in the life of Bonaparte (possibly the most fascinating character in history to me), and I feel Joaquin Phoenix is one of our finest modern actors. STILL not enough to make me go and see a modern Ridley film. He's fallen that far for me... Even considering that Blade Runner is my all-time favorite picture.

Coastlines (2002)

A well paced and immersive character drama.

[6/10 · 12 February 2014]

'Coastlines' is a film that draws you in with superb character development. It takes a methodical approach allowing the players on screen plenty of space to grow their characters. Through the first parts of the film I was riveted; not by flashy Hollywood gimmicks, but through the purity of each actor's performance and their course through the story.

The progression through the middle of the film maintains this steady hand, and we are introduced to branching story lines which keeps the viewer guessing at what's coming next. Is this a revenge film? Is it a story about friendship, or perhaps a story of betrayal? It never becomes clear as to what 'type' of movie you're watching, and this leads to a sense of anticipation as the film is rarely predictable.

I was waiting for some kind of dramatic conclusion near the end, or more appropriately, I was pondering what judgments the film would make on the morality of its characters. 'Coastlines' never makes any bold statements to this effect, however, besides perhaps the thematic allusions to unconditional love. The story takes a foray into complex adult themes without finding a coherent resolution, and I feel this was the bridge too far for 'Coastlines'.

If you are a patient viewer who appreciates the nuances of finely wrought character development then I encourage you to see this film... and draw your own conclusions.

The Net (I) (1995)

'The Fugitive' Meets AOL

[6/10 · 30 December 2012]

Nostalgia may play a large part of my positive feelings towards this film as I watched it repeatedly on video with my younger sister as a teen. Back then "the net" was a new and largely undiscovered frontier, and this film romanticized hackers and the seemingly mysterious world wide web.

I would liken this to a less ambitious version of 'The Fugitive', a film that released two years prior (and by most accounts a superior thriller). Much of what happens in the course of this film is standard fare, but it is presented with a semblance of realism and never seems to hit any lulls or real snags in rhythm despite the frenetic pacing. The plot isn't entirely plausible or devoid of clichés, but it remains interesting from start to finish, and Bullock carries the role well.

There are scattered scenes that show astute directing on the part of Irwin Winkler, though some of the secondary characters give uneven performances. However, Bullock does an admirable service at depicting a frumpy insular woman uncomfortable with her own sexuality and outer beauty. Her character is both resourceful and vulnerable at once, and it's a fresh pace to see a female lead with some layers to peel back in a genre dominated by men. Dennis Miller is very likable in his role, and ably acts the part with a more downplayed version of his real life persona. He was my favorite character by far and brought a lot of warmth to the role.

I'm usually very critical of any movies I see, and am generally turned off by standard Hollywood fodder, but there is a certain charm to 'The Net' that I can't deny. I liked it in '95, and I like it again almost twenty years later. Like visiting an old friend, there's a familiarity to it that is so hopelessly 90's and so reminiscent of a bygone era--the inception of the internet age--that it carries a certain weight to me unmatched by the multitude of forgettable popcorn thrillers of the decade.

2001: A Space Odyssey (1968)

The greatest achievement in cinema.

[10/10 · 26 January 2009]

This is it: Kubrick's masterstroke. Science fiction's magnum opus and quite possibly the greatest film of all.

The opening credits is a moment of perfection. Like nothing else in cinema it makes my hair stand on end and brings me close to tears. How Kubrick managed this, to birth such a powerful beginning in mere seconds, amazes me. The sun peaking over the planet's edge to the tune of Strauss' Thus Spake Zarathustra -- it practically screams "dawn of man" without ever saying a word.

Out of this is spawned an incredible journey through mankind's evolution. Technically marvelous, every detail is accounted for and engineered for a purpose. The innovation of "2001" saturates the film in every frame. The silence of space, the technologies of the future, the foreseeing of man's utter reliance on machines. There is no other film with as great a scope.

Before science fiction was tenable "2001" made it so. Before we landed on the moon Kubrick took us there.

The Elephant Man (1980)

Despite all the ugliness this is a film of absolute beauty.

[10/10 · 5 April 2008]

"The Elephant Man" is overwhelming. Never before, not ever, have I been so emotionally moved by a figment of cinema, or piece of music, or any other work of man. To admit that is hard for me, but to neglect doing so would be to rob this film of what it is due. This is the most arousing cinematic accomplishment, perhaps, in the history of motion pictures.

This is also the true story of a man, a freak, who was absolutely vulgar and disgusting to the eyes. Maybe he was the ugliest man in history, and was certainly treated as if that were true. He was unceasingly beaten, caged, mocked, and exploited. Women screamed at the sight of him and men were repulsed. However, despite living like an animal, despite being treated as one for most of his life, John Merrick possessed an unwavering kindness and civility that made his condition utterly heart-breaking.

Anthony Hopkins and John Hurt are two of the finest modern actors. To watch them both at their best in "The Elephant Man" was the only way to do this film justice. Dr. Treves (Hopkins) was the character through which we felt our own moral questions arise. Did we look on John Merrick (Hurt) with a purpose of compassion, or was it to satiate some inherent desire to point and stare? Certainly at the outset I was merely curious to gawk at Merrick, and at first, looking upon him made me curl my nose at the sight. But as the story progressed I began to see his inner beauty. And it moved me almost inexplicably.

There are many instances of cruelty towards Merrick throughout the film, but this is not what defines it. Despite all of the ugliness in "The Elephant Man" it is a thing of absolute beauty. There is a simple sweeping elegance, displayed in wondrous black and white, that unwraps itself in moments of terror, sadness, and joy. And when Merrick, even after an eternity of horror and injustice waged upon him, shows that his heart is bigger than all of it, it will set yours to flight.

I see God in this picture, and I cannot comprehend any grander praise to give.

Rambo (2008)

Makes "First Blood" look like "Candyland".

[7/10 · 13 March 2008]

The best action movie I've seen in years! Sylvester Stallone makes a triumphant return to the series that transformed him into an action icon. If this is the swan song for John Rambo, Stallone made sure the ultimate badass went out with one hell of a bang.

Story lines in action movies are generally where the genre comes up short, although "First Blood" set a standard there that lost its way in 2 and 3. "Rambo" features a simple and straight forward plot line, but it possessed enough of a soul to make you feel invested in its outcome. In fact, I actually felt myself slightly moved by some of the events that took place, and for a straight up action flick this is almost unheard of. Stallone managed to breath life into the characters, and I found myself pulling for each one of them by the movie's end.

The one weakness of "Rambo", and the primary factor that kept me from considering this an extraordinary film, was in the screenplay. The writing wasn't overtly 'bad', but there were some moments that felt a bit too cliché. Other than that, I loved the story. Stallone went to great lengths to make you hate the bad guys. He pulled no punches in the portrayal of them committing heinous acts, and when turnabout has them getting (literally) torn apart by the good guys, it makes you almost want to stand up and cheer.

The special effects in "Rambo" are amazing, but not for the squeamish. This is not the kind of movie to take your girlfriend to. Heads are flattened and limbs are torn off by Rambo and his sniper pal. You've been warned. However, if you're the type of person who thinks that bloody explosions are something wonderful to behold, you will be in awe of the action sequences in this movie. The message behind the film tracked with me as well, and I found that to be yet another unexpected plus. "Rambo" really is loaded with entertainment, and not just on the lowest visceral level. If you're looking for Shakespearean drama then you're turning over the wrong stone. If you want an orgasmic no-holds-barred action fest with a decent story to go along with it, "Rambo" is a definite can't-miss film!

There Will Be Blood (2007)

So, ladies and gentlemen... if I say I'm an oil man you will agree.

[9/10 · 1 February 2008]

"There Will Be Blood" is nominated for 9 Academy Awards, and let me tell you, it's deserving of every one of them. The composition of directing, cinematography, musical score, and the acting of Daniel Day-Lewis make this an experience; one of the most riveting in cinematic history. You will likely be shocked, or befuddled, when it's all said and done.

Daniel Plainview is a character of complexity. His true nature is a mystery, especially early in the film, and you never quite know what goes through his mind. Daniel Day-Lewis gets this part, and his portrayal of Plainview is masterfully dark and engrossing. He becomes a figure of cruelty, and coldly dispenses of people when they no longer suit him. Yet ironically, his sanity seems to be held intact solely by the singular relationships he does have. Plainview maintains a "business partner" because he claims it helps legitimize him to the community. In reality, his motives are selfish. He needs an ear to bend with the hatreds that swell in him, someone to shoulder the weight of his personal demons. He is a classic people user, and when there are no more left to suck from, he devolves into a loathsome recluse. There is no need to hold an award ceremony this year, at least, not for Best Actor. Daniel Day-Lewis will win the Oscar without so much as a contest.

There is an unnerving atmosphere that pervades this film, and to credit the vision of Paul Thomas Anderson, it leaves you with a constant feeling that something bad is going to happen. So much of this feeling is stirred by the incredibly alarming music. It is chaotic, and at times even feels out of sync or inappropriate for the moment. This serves a purpose, however. Every musical sequence was unique, and many were employed to clue the viewer into something beneath the surface. I can't say enough how integral the score was in maintaining the unsettling mood of this picture.

The cinematography was beautiful. I remember one part specifically when Daniel and H.W. were driving through town in their Model T. I love this scene, and it was so well executed I almost could believe it was actually shot in 1908. Another striking sequence that really stands out was when Daniel carried H.W. from the burning oil well. The way the camera follows him in one uninterrupted shot, the music plucking away violently. There is a sense of something amiss, and the suspense of the moment is fully realized through its impeccable design.

Day-Lewis gives a mastered performance (the character Daniel Plainview rivals even Amon Goeth of "Schindler's List" in the breadth of his villainy), and Thomas Anderson delivers what will stand as one of the great films of the 2000's.

Barry Lyndon (1975)

A Sprawling Period Piece from Stanley Kubrick

[9/10 · 5 December 2007]

"Barry Lyndon" is a three hour exposition into the life of an Irish commoner and social riser in 18th Century Europe. The film delves into great detail the events of his romantic youth through middle-age, and all the notable sidesteps along the way. The film depicts these happenings rather matter-of-factly, and doesn't cast bias one way or another on Barry (Ryan O'Neal). The viewer is free himself to decide whether they accept Barry as a gentleman ultimately, or merely a devious scoundrel.

This is possibly the greatest period piece ever made, and another notch in the belt of cinema's finest director. Filmed in such a way as to present an aura of total authenticity, I almost felt as though I could have been watching a movie made in the 1700's. Kubrick's indelible presence could definitely be felt over this film, and you will never mistake his work for another's.

The gentle pacing of this film may be lost on modern audiences hyped on CGI-porn, but there is a classic Kubrick moral woven within an elegant visual tapestry for those with the patience to bear it.

Titus (1999)

A strange yet impressive delve into Shakespeare's work.

[7/10 · 16 November 2007]

I was taken by absolute surprise at the opening scene of "Titus". The setting of a 1950's kitchen and a boy with a paper bag on his head threw me for a loop. The scene in the colosseum with the horses rising opposite of motorcycles and tanks, and the foot soldiers marching to music made me wonder what I had gotten myself into.

For me, the film improved as the viewer progressed further into the storyline. As my eyes started adjusting to the cross-era ambiance and my ears began to hear Shakespeare's compositions in this adaptation of his little known play, I started to see the pervasive stylization of "Titus" as a strong point.

This film was equal parts chaotic as it was brilliant. Some things felt out of place, others fit together beautifully. I found the musical score striking (although sometimes the modern twist seemed a bit much). The violence at times was hard to watch, and there was generous amounts of nudity as well, although none of it seemed gratuitous within the context of the story.

This movie was long, and definitely not for everyone. In the end, I found this to be a positive experience, even creating in me an interest in Shakespeare's work where only a faint curiosity once existed. "Titus" was not a flawless effort, but it was unique and impressive and that counts for a lot in my book.