Out Among The Directors

[MadMan]

Or simply put, a thread about my exploration of director filmographys. I spent last year trying to do that as best as I could, and I would love to play catch up. Plus I was endlessly bugged by certain posters about certain things, such as why I'm woefully behind on seeing certain movies, and of course the fact that I don't post reviews here, although that can be blamed on me trying to endlessly draw traffic towards my blog, which is a huge pet project of mine despite earning nothing from said venture. So um, yeah here's a review. Wahoo.

Hard Eight (1996, Paul Thomas Anderson)



With sparse and concise opening credits, Paul Thomas Anderson's Hard Eight (1996) is a rather straightforward film debut for a college washout. Its also a great one, even if some do not think so, an engaging and well crafted movie that owns a bit of inspiration to the Jean-Pierre Melville 1956 classic Bob le flambeur, another movie about a gambler who is forced into a hard situation by the people he cares about. Where as in that film one such people betrays him, in Hard Eight elder gambler Sydney benefits from aiding young John and Clementine, two people in love. Or at least they think its love-after all they dwell in Reno where drunk people get wedded all the time. Its too close to Vegas.

Anderson utilizes numerous usual tricks of the trade, such as a nice tracking shot that follows Sydney through a casino room that, as most casino rooms are, brightly lit by false light yet surrounded in darkness. There are no windows and time passes without notice unless you have a watch and finally tire of losing your money at the slot machines or get busted at blackjack and poker. Its interesting how John seems to prosper, where as Sydney in one scene featuring a cameo by Philip Seymour Hoffman, as a crude, taunting and foul mouthed tourist who bests Sydney at "Hard Eight." Losing two grand, especially to someone who knows nothing of Vegas and Reno customs, who has little respect for elders and the rules, has to hurt.



What a cast this film has: the always excellent Philip Baker Hall,; the underrated John C. Reilly, who handles some of this movie's bits of humor well; gorgeous Gwyneth Paltrow, and cool as ice Samuel L. Jackson. I'll admit I felt a little awful when I laughed at Hall's nasty "Hooker school" retort to Clementine, yet its an odd moment amongst a set up gone horribly wrong. Even though I saw certain events coming, I rather liked the final scene. I'm not sure its how I would have ended the movie, but this is why I'm not a Hollywood director and Paul Thomas Anderson has a huge fanbase and Oscar nominations.

Of course the reactions to my liking of this movie are that its not a particularly good film, and that I'm in for better things to come. I'm aware of this based on how much praise PTA's other movies have received, however I still loved Hard Eight and enjoyed it as a great first film (if you don't count his short films, which I kind of don't just because they are hard to get ahold of). I do look forward to watching the rest of his filmography, particularly since some of them are also available on Netflix Instant Viewing.

[MadMan]

IMDB.com's trivia section confirmed for me that PTA was indeed inspired by Bob le flambeur. And that a different ending was to be shot, although after reading about that ending I much prefer the one that was chosen instead.

[Ezee E]

The best has yet to come.

[Skitch]

I didn't know there was a PTA flick I hadn't heard of. Me fail.

[dreamdead]

Nice review, Madman. Just watched Hard Eight because of this jogged my mind and I aim to go through some of Hoffman's filmography that I've neglected over the years.

This one is interesting in that it feels totally quintessentially '90s in theme and mood. This foregrounds Anderson's interest in the father/son relationship that underscores his whole career (with PDL being the exception), but the script doesn't quite convince me that Johnny is in any way interesting. He's a little too sadsack and puppy dog to Sydney to be of much interest. And while some of that is certainly intentional and secures symbolic meaning, the film suffers and lags whenever it abandons Sydney's perspective, making the crosscutting during the finale a little too limp. The film is interesting when it finally answers why Sydney keeps extending himself for Johnny, and in the awkward love triangle between those two and Clementine (who's unfortunately a little too one-note to be fascinating).

Several of the Anderson tracking shots are fun--while you single out the casino sequence, I found the one-take follows of Sydney entering and exiting the hotel room nice in how they ratchet up tension by withholding easy progression of space. This was also a typical Anderson film where bit parts (Hoffman, the hostage) could be interesting movies in their own right. But Hall owns this film. I wish it had explored more varied thematic terrain, but it's a good entryway into his more challenging material.

I've got Bob le flambeur DVRed and am curious if this will rise or fall in esteem once I view it. Also: Sarah mentioned interest in watching Boogie Nights since she's never seen it. Trying to decide whether to do that or Magnolia as a rewatch for myself...

[MadMan]

Nice review, Madman. Just watched Hard Eight because of this jogged my mind and I aim to go through some of Hoffman's filmography that I've neglected over the years.

Thanks!

This one is interesting in that it feels totally quintessentially '90s in theme and mood. This foregrounds Anderson's interest in the father/son relationship that underscores his whole career (with PDL being the exception), but the script doesn't quite convince me that Johnny is in any way interesting. He's a little too sadsack and puppy dog to Sydney to be of much interest. And while some of that is certainly intentional and secures symbolic meaning, the film suffers and lags whenever it abandons Sydney's perspective, making the crosscutting during the finale a little too limp. The film is interesting when it finally answers why Sydney keeps extending himself for Johnny, and in the awkward love triangle between those two and Clementine (who's unfortunately a little too one-note to be fascinating).

The major reason I liked Johnny and Sydney's relationship is that its as much a partnership as it is Sydney acting as Johnny's father. The father figure mentality is something Sydney sticks with because maybe in the end its what he knows and does best. Its funny how in the conversation between Sydney and Clementine that only then does Sydney mention he is divorced and has kids-at least I remember him saying he has kids. Clementine works better as a character when she's interacting with Sydney, so I do agree that the she is a bit thin as a character. I did like the cross cutting, but that storyline felt weak compared to Sydney being forced to deal with Samuel L. Jackson's character, who I should have mentioned in my review. Hard Eight reminded why I love Jackson as an actor-when he stops playing himself and just "disappears" into a role, something that he really doesn't do anymore. Which is a shame.

Several of the Anderson tracking shots are fun--while you single out the casino sequence, I found the one-take follows of Sydney entering and exiting the hotel room nice in how they ratchet up tension by withholding easy progression of space. This was also a typical Anderson film where bit parts (Hoffman, the hostage) could be interesting movies in their own right. But Hall owns this film. I wish it had explored more varied thematic terrain, but it's a good entryway into his more challenging material.

Yeah I have a good feeling that PTA dives into way more complex material in his other films. And yes I did enjoy the other shots, which were really impressive too. There are not too many film debuts where you see a director being that comfortable and in command of the camera and what they want to do onscreen.

I've got Bob le flambeur DVRed and am curious if this will rise or fall in esteem once I view it. Also: Sarah mentioned interest in watching Boogie Nights since she's never seen it. Trying to decide whether to do that or Magnolia as a rewatch for myself...

Despite giving Bob le flambeur and Hard Eight the same rating (95/100) I slightly prefer Bob le flambeur, which is a classic Melville film and a new favorite of mine. I viewed it last year and loved it. I can't wait to get to Boogie Nights and Magnolia.

[StuSmallz]

Whoa, sweet thread necromancy, MM, and nice write-up on Heat; I mean, I've only seen it once about 16 years ago, but I remember it being quite good, so I might need to rewatch it fairly soon-ish. Which Mann film do you think you'll review next, and will you post a version of this thread on the Corrie as well?

[MadMan]

Whoa, sweet thread necromancy, MM, and nice write-up on Heat; I mean, I've only seen it once about 16 years ago, but I remember it being quite good, so I might need to rewatch it fairly soon-ish. Which Mann film do you think you'll review next, and will you post a version of this thread on the Corrie as well?

I already want to see it again. I quit matchcut for a while and only came back when RT died.

I should review Thief. I have a Manhunter review on my blog already. I already have two movie review threads on the Corrie so I might just throw these write ups into the latest one I have.

[StuSmallz]

I already want to see it again. I quit matchcut for a while and only came back when RT died.

I should review Thief. I have a Manhunter review on my blog already. I already have two movie review threads on the Corrie so I might just throw these write ups into the latest one I have.

Manhunter, Thief all say Duke is wrong. I need to see The Insider. Also I will defend Last of the Mohicans endlessly.

Never was really a fan of Mohicans (it just feels so... hollow and Hollywood), but, while I still need to see Manhunter & ​The Insider, Thief is really good, and I'd throw Collateral ​in the mix as well as far as the good Manns go. Anyway, if you do end up posting this material on the Corrie as well, I'll support it there to, and I'm sure a certain evil ​Mann fann would enjoy seeing it there as well...

; )

[MadMan]

Never was really a fan of Mohicans (it just feels so... hollow and Hollywood), but, while I still need to see Manhunter & ​The Insider, Thief is really good, and I'd throw Collateral ​in the mix as well as far as the good Manns go. Anyway, if you do end up posting this material on the Corrie as well, I'll support it there to, and I'm sure a certain evil ​Mann fann would enjoy seeing it there as well...

; )

Keep in mind I have seen Mohicans numerous times on VHS. It was the first Mann I ever watched. And yeah considering he and I got into it over my lazy approach to review and essay writing, I should post it over there at some point.

[Dukefrukem]

Heat is Mann's only good movie.

[transmogrifier]

Heat is Mann's only good movie.

And I get it in the neck for not liking Marvel enough!

1. The Last of the Mohicans
2. Heat
3. The Insider

All brilliant.

4. Collateral
5. Manhunter
6. Ali
7. Miami Vice

All solid. I’d take all of those 7 over every Nolan
film except Memento, which would slot in at 3.

Public Enemies is average. Blackhat I don’t like. Thief has been too long. The Keep I haven’t seen.

[Dukefrukem]

And I get it in the neck for not liking Marvel enough!

1. The Last of the Mohicans
2. Heat
3. The Insider

All brilliant.

4. Collateral
5. Manhunter
6. Ali
7. Miami Vice

All solid. I’d take all of those 7 over every Nolan
film except Memento, which would slot in at 3.

Public Enemies is average. Blackhat I don’t like. Thief has been too long. The Keep I haven’t seen.

I've only not seen Manhunter and Ali and it's been a very long time since I've seen TLofM. But damn, those movies nothing special. And ugly ugly films with the exception of Collateral. Blackhat was the worst movie of whatever year it came out. As was Public Enemies. That tips over Mann's filmography for me as he got lucky with Heat. Spielberg and Nolan never made the worst film of the year.

[Grouchy]

Nah, The Insider begs to differ.

[MadMan]

Manhunter, Thief all say Duke is wrong. I need to see The Insider. Also I will defend Last of the Mohicans endlessly.

[Dukefrukem]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.

[StuSmallz]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.

I think about rewatching Collateral plenty, yo; it was a taut, claustrophobic, stylish urban crime thriller, with a trail-blazing digital visual aesthetic, and an antagonist with a unique, intriguingly nihilistic worldview, which facilitates a rare performance from Cruise where he actually disappears into a particular role, instead of just doing another variation of Tom Cruise: International Superstar. It may not be as ambitious in scope as something like Heat, but any further complications to the film would likely render it a much less tight experience, which is one of its strongpoints in the first place, and one of the main reasons why I've always liked it.

Keep in mind I have seen Mohicans numerous times on VHS. It was the first Mann I ever watched. And yeah considering he and I got into it over my lazy approach to review and essay writing, I should post it over there at some point.

You can do it, (Mad)man!

[MadMan]

I think about rewatching Collateral plenty, yo; it was a taut, claustrophobic, stylish urban crime thriller, with a trail-blazing digital visual aesthetic, and an antagonist with a unique, intriguingly nihilistic worldview, which facilitates a rare performance from Cruise where he actually disappears into a particular role, instead of just doing another variation of Tom Cruise: International Superstar. It may not be as ambitious in scope as something like Heat, but any further complications to the film would likely render it a much less tight experience, which is one of its strongpoints in the first place, and one of the main reasons why I've always liked it.
You can do it, (Mad)man!

I will. Eventually.

1941 is really bad. Interstellar is excellent. More on this, later.

[Ezee E]

Collateral is passable because of Cruise and Foxx. But really, when was the last time you (MC) saw any of these movies? Or sat down and said, I'm going to watch Collateral today.

I'd totally watch Collateral if I was channel surfing.

[Grouchy]

I get you, Public Enemies and Miami Vice were bad and nothing about Blackhat looks very appealing.

But it's not true that he only has one good movie. The aughts did not find him in proper form.

[MadMan]

I loved Public Enemies. And I have seen (and own it) Collateral at least 4 times. Its one of his best films.

[transmogrifier]

The Last of the Mohicans is one of the Top 10 films ever made, so Mann’s doing okay in my books.

[transmogrifier]

1941 would like a word.

[Dukefrukem]

Tu-fuckin-che

[MadMan]

Miami Vice (2006, Michael Mann)



So keep in mind I have only seen a few episodes of the original TV series, and that I am a 90s kid which means I lack the awe that an 80s kid would have for Miami Vice. But Netflix had the 2006 film and I love Michael Mann's work, so I decided to spend two nights after work catching up on a movie that a lot of people who's opinion's I respect have recommended. Despite being messy at times I really liked, maybe even loved, Miami Vice. The style is layed on heavy in this cops and criminals thriller, and it is thick even for a Mann film. This film is a tasty hamburger where the plot is the ketchup and only exists for flavor.

Mann goes pure 1980s where the heroes wear shades and have intense gazes off into the sunset or the night sky as they head off to take down obvious villains. Gong Li and Colin Farrell's very tender and close relationship offers a nice batch of gray in this very black and white scenario, although the cops in this film are not above bending the rules. Jamie Foxx seems to be in this movie to offer a contrast to Farrell, particularly as the cop with a more stable life. The drug dealers that Crockett and Tubbs are investigating seem to be mostly background detail, although that is fine in this case. The film does not have enough run time or room to cover them anyways.

As usual, there are well shot action scenes-Mann does not get enough credit for doing those incredibly well-and plenty of gun play. There is a big shoot out later on that is very entertaining, yet I prefer the trailer park scenes because they are slow and intense. Also Farrell and Foxx are both exceptional actors, and Mann uses both of them to full effect here. Too bad this movie kind of bombed at the box office-perhaps Miami Vice only works best as a TV series.