JakeStevens Blog

Under discussion:

An American in Paris  (1951)

I've never really been one for musicals or extended dance sequences, and it seems this film is almost completely just about that, with some scant plot thrown in to connect all of the numbers together. I'd be hard pressed (more like tortured) to say this was deserving of its 1952 Best Picture Oscar, especially when you consider it was contending with "A Place In The Sun", "A Streetcar Named Desire" and the not-even-nominated-for-Best-Picture "The African Queen" (perhaps my favorite mentioned thus far). True, the cinematography is breath-taking, the obvious sets are lavish, and the song and dance sequences captivating...if you're into that sort of thing. As a whole, though, does that constitute it being the best picture of that year? I would say no. No way. I bought this because not only did it win Best Picture, it also found its way onto AFI's 100 Best Films of All Time list, and I would MOST DEFINITELY say that "Singin' In The Rain" is the superior picture, and much more deserving of its status. This is certainly a charming film, but so is "Rain", and charm a best picture does not make.

Under discussion:

Jacob's Ladder  (1990)

Since first seeing this film in 1990, at the urgent goading of one of my uncles, I have raved about this film and I attempt to watch it at least once a year. As such, it hasn't lost any of its impact with multiple viewings, rather, the subtlties of Adrian Lyne's direction and Tim Robbins deft portrayal of Jacob Singer keep elevating it higher and higher on my favorites list. Robbins is perfectly cast as a mad who is seemingly losing his mind while desperately attempting to figure out what is happening to him. Danny Aiello is simply angelic (pun fully intended) as his chiropractor, and Elizabeth Pena is effectively seductive and sexy as his post-failed-marriage concubine Jezebel. If you've never seen this film - PLEASE - watch it soon; I promise...you will not be disappointed. Even if you don't LOVE it, you'll at the very least appreciate it.

Under discussion:

Eastern Promises  (2007)

So I've been watching a lot of Cronenberg's earlier films, and although I enjoy them for what they are (semi-low budget horror/sci-fi films), his recent work is what most interests me. He has crafted here yet another multi-layered masterpiece about violence and codes of ethics with a cast that knows exactly how to handle said material. Someone below mentions the gore and violence, and I don't see how this film could be nearly as effective without it. Cronenberg is one of those directors (in the vein of Scorsese) whose sole purpose, it seems, is to evoke emotion via shock and unexpected surprise. I like it. And I think you will, too.