We Live In A Society And Joker Lives In An Only Occasionally Successful Movie

So many people come and go in our lives every day, it's easy to forget that other human beings have had entire lives up to the point we meet them (maybe that's just the Walgreen's cashier in me talking).  Everybody's got a story for how they got to their current point in their lives, even wanna be stand-up comics like Arthur Fleck (Joaquin Phoenix). Residing in Gotham City with his mother and working as a clown-for-hire, Arthur struggles through life due to his mental illness that includes a handicap that sends him into sudden fits of uncontrollable laughter. Bad luck follows Fleck wherever he goes as he searches for purpose in his life and a reliable father-figure to serve as a substitute for the dad he never knew.

All Hail The Masterful Awkwardness of The King of Comedy

The King of Comedy is another great example of a movie made in a specific era of history that still resonates as relevant today. This 1983 Martin Scorsese directorial effort hinges on the idea of a comic being obsessed with garnering fame through the aid of a late-night talk show host he's obsessed with, and admittedly, it's hard to imagine modern-day people looking for their big break being this exclusively fixated on a broadcast television late-night host as their ticket to glory. But that obsessive drive to be famous at all costs, a creepy sense of entitlement to stardom, all of that is still relevant to today. Though the pursuit of fame may manifest in different ways in 2019, The King of Comedy is about a guy whose primary motivation is disturbingly timeless.

Observe and Report Is an Imperfect But Ambitious Dark Deconstruction of Typical Man-Children Comedies

CW: DISCUSSIONS OF SEXUAL ASSAULT 
SPOILERS AHEAD

In his time as a comedic leading man, Seth Rogen has demonstrated an admirable ambitious streak. The films rarely turn out to be all-time classics (though at least none of Seth Rogen's vehicles have turned out as badly as modern Will Ferrell or Adam Sandler features) but movies like The Interview or This is the End tend to be centered on more high-concept unorthodox comedic premises that see Rogen and company demonstrating bolder creative aspirations. This quality could be found as early as less than two years after Knocked Up cemented Seth Rogen as a viable leading man with the black comedy Observe and Report, which hews closer to Taxi Driver than fellow 2009 mall cop movie Paul Blart: Mall Cop.

The Camerawork In The French Connection Is Outstanding, The Characters Less So

Praise must be given to The French Connection for its boldly bleak ending. This 1971 feature from director William Friedkin has a gangbuster conclusion that dares to allow key plot points to go unresolved, for good to not triumph over evil and for our lead character to be sucked into his own mental abyss.  It's a daring way to close out the proceedings and its mighty well-executed, however, such a capper does not remove all the shortcomings previously seen in The French Connection, which ends up being a movie that's more successful in terms of camerawork than it is at character work.

Writer/Director Paul Schrader Delivers Something Equally Bleak And Unforgettable With First Reformed

If you were to do a film festival dedicated solely to films that serve as morose meditations on man's relationship with God, you'd have plenty of high-quality options to choose from. Ordet would certainly be an option, ditto for Au Hasard Balthazar. If you're looking for modern-day examples, well, let's totally throw Noah and Silence in the line-up too, those two movies never get enough love. Another recent movie that totally should be included in this theoretical film festival hails from director Paul Schrader and is entitled First Reformed. If you're wondering if First Reformed is bleak enough to join the likes of Au Hasard Balthazar, trust me, it most certainly is.

No Easy Answers to Brutal Questions Can Be Found In Munich

Back in 2005, Steven Spielberg delivered two motion pictures that managed to crystallize different aspects of how 9/11 impacted America. The first, War Of The Worlds, was a harrowing motion picture that managed to capture just what it was like to be an ordinary American citizen that suddenly found themselves thrust into the middle of an attack larger than anything they could have imagined. Six months after War Of The Worlds, Spielberg's second directorial effort of the year would arrive in the form of Munich, which paralleled real-life events from the 1970's to the morally shady (at best) the American government was responding to the 9/11 attacks.

Ingrid Goes West Has Refreshing And Entertaining Things To Say About Technology

We all use social media these days, but if you think you're hooked on Facebook, Twitter, Instagram and all those sorts of apps, just wait until you meet Ingrid (Aubrey Plaza). This is one person whose fixation on social media goes well into the unhealthy territory and her aggravation over seeing Instagram pictures of her "best friends" wedding that she wasn't invited leads her to attack said "best friend" at that wedding. After that, she's been spending some extended time at a mental institution, hoping to get her life in order...until she finds the next target of her obsession, a Los Angeles social media icon by the name of Taylor Sloane (Elizabeth Olsen).

Few Sequels Are As Amazing As The Captivating The Godfather: Part II

Sight & Sound Voyage Entry #38
Placement On Sight & Sound Top 50 Movies List: #31 (Tied witb Taxi Driver)   

For years, I've heard the usual picks of when people say best sequels; The Empire Strikes Back, Spider-Man 2, and of course, The Godfather: Part II. That 1974 Francis Ford Coppola has been held up as the paragon of sequel filmmaking for decades now and getting to actually watch it for the first time totally made me realize why The Godfather: Part II is held up in such high stature in discussions of cinema. This thing not only manages to surpass the quality of its already incredible predecessor but it also does a remarkable job of enhancing the world established by the first movie by lending a sweeping mythic quality to the Corleone crime syndicate.

Taxi Driver Review (Classic Write-Up)

Drive Crazy

Crime litters the sidewalk, as rain comes slipping down from the heavens. Droplets of liquid plummet onto the street while an atmosphere of depravity hangs over the entire neighborhood. Travis Bickle (Robert De Niro) feels he doesn't belong here, the scumbags around here make him sick. But his psychopathic actions make him a perfect fit for this part of New York City, even if his delusional mind makes him think otherwise.