A voice crying for help inside of a city falling upon the ruins of itself. Martin Scorsese’s Taxi Driver gives that voice a perspective and just plays out as a perfect lash against the society occupying one’s mind. Quite arguably Martin Scorsese’s finest achievement as a filmmaker, Taxi Driver defines a generation so perfectly and in the years to come, it has still continued to shake viewers of all sorts – especially when there’s a specific illusion the world around oneself is creating that only greatness comes about. But maybe there was something more than Martin Scorsese and Paul Schrader had attempted to reach, which allowed Taxi Driver to remain as strong, perhaps even grow stronger within years to come. That having been said, its reputation as one of the greatest American pictures of the 1970’s, even all time for the matter, has remained without any challenge in its way.
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I’ve especially been more critical of Pixar ever since the post-Toy Story 3 days but after a bump back up with Inside Out, it seems they drop down once again by bringing us The Good Dinosaur. Initially I was skeptical of Finding Dory particularly because I have a close attachment with Finding Nemo (it was the first film which I saw in theaters when I was very young), but I was never sure it was the material I would have expected a sequel for. On some level, Finding Dory did prove me wrong but on another, I’m not exactly convinced that Pixar’s track record will ever find itself hitting back to the roots of arguably their most consistent period of quality. It may not be up to par, but considering where they have landed in more recent times, it is a nice bump back up. Continue reading →
I’ve already seen Albert Brooks display lots of talent on the screen as an actor whether we only hear his voice or he brings a charm just from being present, yet I’ve seldom looked into what he’s done behind the camera. From this and Lost in America alone, I can already tell he has a sort of skill I have the feeling that I will grow to highly admire if I watch more of his films – as what I got out of Modern Romance was a most unexpected surprise. Modern Romance is a comedy that brings into question how relationships are to work, it’s more than simply a sweet story of love. What Albert Brooks presented was one of the most poignant stories of romance put to the screen, only to have been aided with how realistic these characters are. Continue reading →
I have a very hit-or-miss relationship with the films of James L. Brooks (although I admire his television work, notably The Simpsons) but among his own output, the one film that I feel stands out amongst all the rest is none other than Broadcast News, which showcases his writing at some of its very finest and most human. Similarly what we’re also offered is a biting satire of what happens behind what makes the media under the guise a love triangle forming from the three leads, all of whom are nothing less than absolutely charming as they take up the screen, it’s absolutely wonderful where all of this leads to because it breaks away from being your ordinary romantic comedy. Continue reading →