Safety Last

The first thing that you know about Safety Last, even if you don't know who or what Harold Lloyd is, let alone what Safety Last is, is the guy-hanging-from-the-clock. And it turns out this is what Safety Last is all about. It's the "money shot."

The idea for the film began with the idea of the climb, based on Lloyd seeing it done for real one afternoon on the streets of Los Angeles. And the reason one went to see the film then, as now, is to see that shot, and how Lloyd gets into that situation.

But though that sequence caps the film, and presents several purple passages, the machinations that set up his character, his character's situation, and the relationships in the film are what surprise the veiwer more than eight decades later. They are likely to both endure as something we can identify with and they are likely to remain a window into another era: We can understand why the characters (and especially Lloyd, who is the closest to a three-dimensional character) do what they do, even if the mannerisms and milieu are at best quaint, and at worst very foreign.

http://www.imdb.com/title/tt0014429/

Shiri

For those of us who have been wondering how, even in the fanciful world of action movies, the leading characters end up with super human combat capabilities, Shiri offers an answer in its opening montage. But more than that, Shiri is a reminder of what's been going on in Korean films for the past decade.

The Hollywoodization of product values has been oft-noted. It's true, though much of Shiri looks more like a Hong Kong production than Hollywood film -- except for the rapid editing which during action sequences that is intended to create a state of excitement at the expense of coherence and genuine tension. But what's truly interesting is the way the themes and treatments are Korean.

The re-unification of the two Koreas looms large in Shiri, as it does in so many films from the peninsula. And the emotional content of the film's relationships -- the time and import given to them -- exceeds Hollywood, and plays more seriously than Hong Kong.

http://www.imdb.com/title/tt0192657/

Osama

Yes, Osama is harrowing, moving, maddening and beautiful. One can see the Iranian-style's influence, so the fact that there was cross-fertilization of creative talents should come as no suprise.

But the stories around the story is worth thinking about, too:

The Taliban are "gone" but the rules and tactics remain in place in many places -- not just in Afghanistan, but in many other countries.

George W. liked this movie. Do you think he missed the point?

http://www.imdb.com/title/tt0368913/

Once Upon a Time in Mexico, The Lord of the Rings Trilogy - Extended Edition, Fall Guy

There is a delerium at the heart of Once Upon a Time in Mexico. Rodriguez is playing with genres -- his own stomping grounds, as well as spaghetti westerns, and Hong Kong crime comedies. One can see "Spy Kids" for adults seeping through. And at points Depp is having so much fun with his silly role, we see the actor rather than the act. There is not too much else -- a star-filled cast, and beautiful HD videography round out the bill. Fodder, but fun fodder. http://www.imdb.com/title/tt0285823/

The Extended Edition of the Lord of the Rings Trilogy stretches more than 10 hours. Even with the occasional misstep -- Frodo and Sam disguised as orks? -- there is no reason to watch any of the theatrical versions ever again. There is little revolutionary about these films: The effects take the technological realization of a fantasy world to a new level, to-be-sure, and the adaptation of a gargantuon work has humbled even more innovative directors. But the overall effect is like a well executed military campaign to construct a mighty entertainment. It is *remarkably* successful in this regard. But why do I feel guilty?

The Stand In: I wish I could say more than that I couldn't watch more than 20 minutes. http://www.imdb.com/title/tt0082601/

The Suicide Club: Other than its missing a third act, this Japanese horrro film might have gone some where. http://www.imdb.com/title/tt0312843/

I Am Trying To Break Your Heart

If it weren't for the twist, where Warner Bros steps on itself, this would be an uninspiring rockumentary.

Shall We Dance?

No, not with jay-low, but with Tamiyo Kusakari. At points one wonders whether Masayuki Suo watched Strictly Ballroom a few too many times, but the transformation into Japanese culture and mores impacts not just the ephemeral trappings (language, environment, conventions) but the plot itself. Reticence, sublimination, and interpersonal evasion are given their due, as are the moments of direct communication in which whole inner lives are laid bare. It's touching, entertaining, and while not "realistic" the film manages to be hopeful while not resting on a happily-ever-after coda.

http://www.imdb.com/title/tt0117615/