Film Review - Hard Eight (1997)

Long before the pudding, oil, and poisonous mushrooms, now acclaimed writer and director Paul Thomas Anderson was rolling dice with some early-on collaborators in his directorial debut, often considered the weakest of his filmography. Character study Hard Eight can't seem to get much of a break, bombing pretty badly on an already small budget upon release and not seeing a ton of additional traction since, despite Anderson's growing acclaim and fandom. So, normally, most who haven't seen it would possibly consider it a growing pain that many great directors have early on, like Stanley Kubrick's Fear and Desire or Martin Scorsese's Boxcar Bertha, but there's far more to Hard Eight than what it may be given.

What's perhaps most noticeable about the film is how much of a stacked cast Anderson was able to accumulate for his first film, with famed comedic actor John C. Reilly, future Oscar winner Gwyneth Paltrow, and cheeseburger loving Pulp Fiction star Samuel L. Jackson all present and giving solid, memorable work. But the name up front in Hard Eight is the lesser appreciated Philip Baker Hall, who is simply incredible here as a fatherly and mysterious gambler in a performance that almost single handedly carries the film with his effective and unforgettable approach.

Notice how I say "almost single handedly" there, because Anderson clearly knew how to make a captivating and unique picture from the very start. The film's is oozing with energy in scenes where characters are working to get things done, creating for ever so satisfying build-ups through sharp editing and use of fantastic score by Jon Brion and Michael Penn. And in other scenes of uncertainty and suspense, tension is created excellently purely through the cast's efforts and dialogue that make sense of the gravity of the situation while still showing how their character's own flaws are crucial to how things are resolved.

Though, as a directorial debut, some issues are inevitable, particularly with some plot points being finished up, albeit not in the most satisfying ways, and the pacing may come off as jarring in the second half. But such problems, while still present, are more forgivable with how the film revolves around Philip Baker Hall's character, Sydney. His personality and deeper character are shown excellently with his interactions with others and his approach to them, demonstrating a softer person beneath as well as a darker side to himself that he prefers to keep to himself at all costs. He makes for an unforgettable lead character that Anderson's later work would be known for and built upon.

Even with a shakier reputation than most of the films from Paul Thomas Anderson, Hard Eight is no bad bet, as it offers an engaging and fascinating experience as one would expect from one of the best working today. One can only hope that its love grows overtime, hopefully to the point where it actually gets a Blu-Ray release, but for now at least a great film is still before us.

Final Grade: A

Film Review - Little Women (2019)

No other film this year had me feeling the way I did like Little Women did as I left the theater. Having basically no knowledge of the storyline of the book it's based on and very much liking, but not quite loving the writer and director's (Greta Gerwig) previous film Lady Bird, I expected to have about the same feelings here; but little did I know that one of the most delightful and characterized films of the year awaited me.

Gerwig's work is astounding. Her direction is brimming with so much liveliness and emotion that it's impossible not to love. But her screenplay is what's to love; it feels so true to the time it takes place while feeling so incredibly modern also. It's written with so much passion poured into its message, and especially shines with developing the people it follows.

Every character is astounding. Each of them remarkably distinct from the other and unforgettable. They all have at least one scene that can break your heart, and are impossible not to like (except for one, who's barely in it and is made apparent early on). It certainly helps that the cast is as wonderful as it is, the standouts being Saoirse Ronan helming the lead as Jo March who is as ever as ever to root for and Florence Pugh as Amy March, offering maybe the best performance in the film.

The way the film is made brilliantly draws you into it. The cinematography beautifully captures the nature of each scene offering a gorgeously crafted view of the sisters' situations, and the costumes and sets recreate capture the 1860s of the U.S. effortlessly. Then Alexandre Desplat is at the top of his game here, with some of the best music he's ever composed that I'm probably listening to as this is being read. The editing will take a bit of getting used to with how it goes back and forth with time places, but it makes the March family's story very effective once one figures it out.

Just watching the four March sisters continue with their everyday lives is endlessly captivating. They're endlessly likable; even when they act selfishly, they easily win you back with how they try and connect to each other and their friends. They all feel like our own sisters by the end, perhaps the best possible for a film to create a lasting impact on everyone watching it.

Even if you try to dislike Little Women, you'll love it. Even if you didn't care for Lady Bird, you'll love this. Even if you don't think Little Women will be your thing, it'll definitely be your thing. It's something impossible not to like, which easily reserves its reputation as what will be a classic.

Final Grade: A

Film Review - Once Upon a Time in Hollywood (2019)

In a time where everything ever to exist is owned by Disney, especially in the film industry, it's good to see an original film out there doing well at the box office, and one about the times before Mickey Mouse's monopoly no less. Once Upon a Time in Hollywood (and I refuse to write it with an ellipsis) is one of the few non-major IP films out there that would get the attention of most audiences, thanks to how universally praised Quentin Tarantino's past films (Pulp Fiction in particular) have been received. And with such a wider audience Tarantino has, he's been able to craft his most expensive film to date, and with his budget, he's created his most ambitious work yet.

This late 1960s callback is not only the most technically impressive piece of Tarantino's career, but it is also a remarkable look at a fictional actor's life and the world around him.

That actor, in particular, is Rick Dalton (Leonardo DiCaprio), a famed TV star fearing his fall trying to regain his confidence. DiCaprio could not be more perfect as Dalton, as he brings to life his struggles with confidence in such a comedic and enduring way that no other actor could've done as well as him.

In fact, all of the characters and performances are pretty much spot on. Every one feels perfectly casted, and regardless of how long they are in the film. Even characters with shorter screen times, like Marvin Schwarzs (a fictional agent portrayed by Al Pacino) and Bruce Lee (Mike Moh) are able to leave an impression because they don't waste a moment on screen, and fully embrace their character.

Brad Pitt, who plays Cliff Booth, is also worth noting, as he gives easily his best performance. His role as Rick Dalton's stunt double is one he was born for. He brings so much attitude to Booth, bringing to life the tough sidekick as anyone would've wanted.

The final widely-advertised performance in the film I haven't talked about yet would be Margot Robbie as Sharon Tate, who is certainly good, but Tate's character feels a bit wasted. Her style seems to be portrayed perfectly, but throughout the film very little is told about her outside of her stardom, and it feels like she is there purely to compare her to Rick Dalton. But even then this doesn't take away from how great the characters are in this film overall.

It is also undeniable that this is easily the best recreation of 1960s Hollywood to date. The sets and costumes are all spot-on and brimming with old-school L.A. charm. The actual movie sets in the movie (set-ception as one might say) showcase this best, as they separate themselves from the rest of the film entirely and make you feel like you're now watching a classic western.

And the scenes where those western sets can be seen are among the best in the film. They explore Rick Dalton in unexpected ways and give DiCaprio some of the best moments of his career, and are shot beautifully as a homage to those old westerns.

Yes, the movie is unsurprisingly host to some amazing cinematography. From perfect centering that effortlessly captures someone's moment to gorgeous scenery shots, Robert Richardson has once again proven that he is one of the best photography directors working today.

The editing is solid, giving each scene enough time to breath and staying true to the style of the film wonderfully. However, it does feel like some scenes have been given too much time to breath and run a little too long, and they could've used some more cutting there to make film feel a little quicker, per-say.

As for Quentin Tarantino's work here, his writing is what would you would expect from him. You get sharp, realistic dialogue with the perfect mix of comedy, attitude, and make the film all the more engaging.

His direction is just as credible. He has a clear focus on his actors and where to take each scene, helping make the film the character-driven piece that it is and making it work all the more.

With an excellent cast, top-notch production value, and excellent writing, Once Upon a Time in Hollywood is the kind of high-budget film we need nowadays. One that's original, has heart, and offers plenty of reason to come back to it in the future. It's not the best work Tarantino has put out there, but it certainly is another great offering from him.

Final Grade: A