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I’m not enough of an expert in Russian literature to give Woody Allen’s Love And Death it’s full due, intellectually. I do know there's some Crime And Punishment, some Brothers Karamazov, some War And Peace, and some Chekhov being spoofed. Visually there are references to Allen’s Swedish idol, Ingmar Bergman, with The Seventh Seal and Persona, and as well as some Charlie Chaplin. Allen also borrows healthily from his wisecracking forbearers, The Marx Brothers and Bob Hope.

If Woody Allen’s directing career can be broken into three sections - his early slapstick comedies, his middle important films, and his later mostly forgettable busts that he’s been marred in for almost the last 20 years - then Love And Death marks the end of that first period. It would be his final "straight comedy" before making his evolutionary leap with his next film, the masterpiece Annie Hall. Love And Death ended his six-year period of comic experimentation following the hit and miss joke epics Take The Money And Run, Bananas, Everything You Always Wanted To Know About Sex, and Sleeper. Hard to believe at one time a film critic argued who was the more important comic filmmaker: Allen or Mel Brooks (after making the classics Blazing Saddles and Young Frankenstein)? Allen went on to do Annie Hall and Manhattan and about a ten more relevant films while Brooks did Dracula: Dead And Loving It. Woody was always growing, while Brooks peaked early. That is not to say Love And Death is only important as a growth record. It’s also a great comedy on its own merits. It’s beautifully shot in Hungary by cinematographer Ghislain Cloquet (Au hasard Balthazar, Tess, etc.). Also it’s been cleverly scored with the music of 20th century Russian composer Sergei Prokofiev (later The Ren & Stimpy Show would use his music as well).

Like Allen’s Latin American revolution comedy, Bananas, a lot of the fun is putting Woody in an absurd situation and letting him be Bob Hope. During the Napoleonic era, Allen, sporting his trademark horn rimmed black glasses, plays Boris Grushenko, a Russian coward ("Yes, but I'm a militant coward"). As his two virile brothers enlist in the military, Boris is too busy fretting about life and trying to get laid. The object of Boris's lust is his independent cousin, Sonja (Diane Keaton), however she is engaged to the herring merchant. Eventually Boris enlists in the army, becomes a hero, and then he and Sonja set out to assassinate Napoleon (played wonderfully by James Tolkan).

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Filmed over the course of three summers in Austria, this is one of the rare films that uses weather as a means to accentuate emotions. It is therefore what I consider to be "cold cinema." I coined the term to apply to a filmmaking technique that is not "warm"  - or rather, one that doesn’t pull at your heartstrings or target a certain emotion from a general audience. I don't even think that cold cinema expects an audience but, when found, it always seems to leave a lasting impression.

The key to this kind of movie is the emphasis on characters and secondary elements of the story, such as weather. Foreign films tend to use this technique a lot, and for a while films like There Will Be Blood and Doubt were sort of recent American equivalents. They are movies that demand no particular response, and therefore every viewer takes away something different. Many of them don't have soundtracks. I think it's a wonderful technique because it forces you to figure out why you were impressed with or disliked a movie. Dog Days is an introductory accomplishment for Seidl (Import/Export, Models) and is a marvelous example of the roles we take on as human beings, and the conditions that make some of us exercise power over others. Figuring out that this is what the film meant to me was far more rewarding than having a definite interpretation.

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ELEC-TRON-IC A cheated and spurned former computer programmer, Kevin Flynn (Jeff Bridges), of computer company ENCOM has become an arcade owner and operator. While trying to reclaim his stolen work he enlists the help of two former coworkers and current employees of ENCOM, Lora (Cindy Morgan) and Alan (Bruce Boxleitner). However they are up against Dillinger (David Warner), ENCOM’s unrightfully elected man in control, and the even more controlling super computer known as Master Control Program (MCP). Master Control has been absorbing other programs, thus becoming stronger and stronger.

Flynn, Lora, and Alan break in to ENCOM and attempt to distract Master Control while Flynn hacks into Master Control’s system long enough to find his stolen work and get back out again. However, things take a turn when Master Control uses an experimental laser to literally digitize Flynn into the cyber world of its inner workings. Welcome to the world of TRON!

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In 1982 when Diner was released it may have been confused with Porky's, another film about the nostalgic sexual misadventures of young men in the 1950s. Porky's, though a big hit in its day, was actually a pretty lousy movie and now completely forgotten. Diner, on the other hand, gets better with age. It's not just because of the smart dialog, complicated relationships, and impressive core of young actors who would go on to substantial careers; it's also a rather powerful film about growing up and coming to terms with lost youth and adult responsibilities.

Diner is the story of a group of early twenty-something young men in 1959 suburban Baltimore and is said to be semi-autobiographical for writer and director Barry Levinson. Having written scripts for Mel Brooks (Silent Movie and High Anxiety), as well as the oddball dramedy Inside Moves, Levinson was an established writer making his directing debut. Levinson would, of course, go on to have a prolific hit and miss directing career (hitting often with Rain Man, The Natural, Bugsy, and Wag the Dog; but missing even more often with junk like Toys, Man Of The Year, and Envy). Diner has proved to be the high point for originality and earned pathos in Levinson's career.

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It’s hard to categorize the film I’m Still Here. Simply put, it plays as a documentary that illustrates a man in free fall. To suggest, however, that it is a true documentation of such only serves to perpetuate the myth (as well as the egos of its makers) behind the film itself. On the other hand, the suggestion of truth is what makes this film possible within the ether of today’s stagnant and highly unentertaining… well… entertainment. It’s pointless to over-analyze Casey Affleck’s directorial debut, as in doing so would only allow yourself to be hoodwinked by two very talented satirists who have set out to do just that: orchestrate an elaborate hoax intended to turn the mirror on the Hollywood machine and also shed light on America’s obsession with celebrity.

I’m Still Here is the fictional account of Joaquin Phoenix’s decent into madness. The film opens with Phoenix pacing around the front yard of his Hollywood Hills home while the city glimmers below. The stage is set as Phoenix declares, "I’m living in a self-imposed prison." What we see here within the first three or four minutes of the film is someone who is lost and is trying desperately to find his true identity. That identity comes in the form of J.P., the alter ego and hip-hop artist formerly known as the actor, Joaquin Phoenix.

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The Fast And The Furious is a guilty pleasure of mine; this amped up, goofy remake of Point Break is actually a ridiculously fun adrenaline rush. As a sequel, 2 Fast 2 Furious is pointless (it’s sorely missing the presence of the first film's co-star, Vin Diesel). As an exciting action film it’s just lacking. As a fun-dumb genre movie, it doesn’t deliver. HOWEVER, as apparently lame a movie as it is, it does work as a touching gay love story between two men whose macho cultures suppress them from revealing their true feelings and stop them from acting on their apparent lust. In that context this is powerful, beautiful film. 2 Fast 2 Furious is like a sexless, jacked-up Brokeback Mountain on speed.

Returning from the first film Paul Walker (a not very impressive pretty boy actor) plays Brian O’Conner, once an undercover cop who used his love of cars and drag racing to do some deep cover, infiltrating a ring of racing crooks. Now pushed by the Florida State cops to crack a ring of drag racing drug dealers led by the evil Carter Verone (Cole Hauser, star of the entertainingly awful Paparazzi, channeling fellow actor James Remar in his younger 48 Hrs days). Brian recruits Roman Pearce (Gibson), his childhood homie and the love of his life. Roman blames him for his prison stint some years ago, but after seeing each other for the first time, they roll around on the ground together and Roman completely agrees to work with Brian. As Monica, Eva Mendes is the low-cut top wearing, undercover Fed who tries to come between them.

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What does this film, Control and Morvern Callar all have in common? They all feature arresting performances by Samantha Morton, as well as a wonderful soundtrack. I've concluded that Morton's acting career is a solid, aggressive work of art, and that the possibility of being disappointed with her does not exist. However, with Under the Skin, I think one can view her finest performance. It seems obvious that she takes direction well, but with Carine Alder's film, I believe she provided something extraordinary. Her efforts to connect with the character, and really push to bring something daring to the screen, is very inspirational. As for the director, who is a woman and unfortunately has not directed a feature film before or after this one, I also give my highest praise.

The film focuses on the lives of two sisters, Iris (Samantha Morton) and Rose (Claire Rushbrook). The two are like oil and water. Rose was named after their mother's (Rita Tushingham) favorite flower, while Iris bears the name of one with mixed meaning. They've just been informed that their mother has either 3 weeks or 3 months to live. When she does pass, the dramatic and pregnant Rose waits around for crocodile tears that never come. Iris seems untouched by her mother's death, but there is something about her that makes you believe she is devastated. They make arrangements to have her cremated and begin splitting her belongings between the two of them. Rose was the closest to her, and therefore feels entitled to just about everything. The only thing Iris wants is the ring her mother wore, which Rose steals, claiming that she can't find it in the house. While rummaging through her mother's things Iris finds a fur coat, her wig, and a pair of cheap sunglasses. As you see her putting them on, you get the sense that she'll never be the same again.

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Stroszek is the story of a man living in a world where he doesn't fit in. The film’s lead character, Stroszek, is a 45-year old German street musician who lacks the common everyday living and social skills that it takes to get by in life. At the beginning of the film Stroszek is released from prison after serving time for flagrancy and public drunkenness. With his new found freedom he goes straight into a bar and orders a beer. This is where we first meet another social misfit and friend of Stroszek, the prostitute Eva. As Stroszek adjusts to his new life he begins to encounter the harshness of the outside world. Eva’s pimp begins to terrorize and abuse her for what appears to be the mere fun of it. Stroszek, Eva, and Stroszek’s senile neighbor Scheitz, unable to defend themselves, decide to leave the country and sail to America, the land of opportunity.

With the promise of work and a place to live the three of them make their way to Wisconsin to live with a long lost relative of Scheitz. The journey is exciting and promising as they arrive in New York City, and their arrival in Wisconsin is even more joyous. Stroszek gets a job working in a mechanics’ garage, Eva gets a job as a waitress at a local truck stop, and with a loan from the bank they buy a deluxe mobile home with all the modern amenities. All is happy in the world for the moment, but Stroszek soon begins to worry when bank payments they can’t afford start coming in. The situation then goes from bad to worse for Stroszek who eventually reaches the end of his rope in a dingy diner located on a small Indian Reservation. This is where the film reaches it emotional and bizarre conclusion.

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When you're walking past all the asphalt and gleaming metal of the city, you forget how to feel sometimes. That never seemed to happen when you were a child. You were in tune with everything—you felt everything and wanted so much to please. Then you grew older and you noticed that the world had plans for you. If you felt something very powerful, or loved something fiercely, you learned to keep it to yourself. It hurts to contain it sometimes, but you do it all the same. For the group of disabled actors in the A.N.C.H.O.R drama program of Long Island, that is simply not a reality. What the human race has fallen out of touch with, these children and adults practice with bliss.

Every year, drama director Sandy Braun gathers the same eager actors in the program and puts on a wonderful performance with little support from outside sources. Most of the members are young adults and the disabilities range from Down syndrome as the majority, and others spanning from paralysis to several mild forms. This documentary follows the trials and tribulations of the group as it tries to pull off the best Wizard of Oz they can muster. They all gather in an auditorium and the drama director announces who received what part. I literally burst into tears when I saw their glee and satisfaction, particularly from one girl who becomes overwhelmed. The Wizard is played by a man named Josh, who is modest and pleased with the news. Dorothy, the Scarecrow, and the Wicked Witch are played by Trisha, Danny, and Elizabeth. The star of the program, John Stare, has the role of the Cowardly Lion. Another favorite in the group is David, who plays the Tin Man.

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The evolution of the road-rebel is brought to the screen in this directorial debut from Kathryn Bigelow (Near Dark, The Hurt Locker). Technically, this is the film that also introduces Willem Dafoe and has him as the star amongst an unusual '80s cast. I say unusual because you have a blend of actors who've made a decent name for themselves by '82 and ones who definitely show promise in the film, and yet this was their only role. Some were from Georgia, where the film is set, so I guess it makes sense that, for the film's simplicity, actors who normally would have been extras were used for key roles. What satisfied me the most about this film was (a) being aware that a woman directed/wrote it, and (b) it has a slow plot that forces you to stop looking for action and absorb all the messages and scarce dialogue within it.

Willem Dafoe plays Vance—a young biker with dirty fingernails and sensational tomcat essence who is adored by several passing ladies. We see him solo at first, marveling at the blacktop and defined only by it and his Harley. He and his buddies are on their way to Daytona and have stopped in a small Georgian town to repair one of their member's bikes. Without the harsh juxtaposition between this group and the locals, I don't think the film's message would be as clear. Both the townspeople and the bikers have a uniform—one pastels and the other leather. Seeing the differences between the two made me expect a war - which eventually does come in the film's climax, but not as I expected it. Many people found the film quite boring, but I'm sure they missed the subtleties that really make it a wonderful debut. For instance, Vance's status as the ringleader is evident in his manner and dress. He doesn’t exactly respect the locals, nor does he expect it from them. On the shoulder of his leather jacket are silver stars, like a general. The men he rides with are not exactly his friends, but rather people he met while in prison. The only thing they share is the love of a beautiful automobile. Without their quest to cause havoc on the way to the largest roadster gathering, all sense of brotherhood would be lost.

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