Nathan Welsh

A real lovely movie. If you're used to Ghibli movies and Miyazaki's style, then this film is for you. It's a quieter film and the pacing for the first half is a bit slow, but it picks up for the second half. Like many have said, it really feels like a personal film for Miyazaki. While there are joyful, whimsical moments (especially with the Heron, Parakeets, and Grannies), the film's themes are pretty dark and somber (dealing with death, grief, and the pain of creation). Definitely worth pondering over though. When I left the theater, a group behind me kept asking why certain plot points happened, why characters did what they did, or why certain creatures appeared out of nowhere. One guy said he slept thru most of it. A shame. If you want something more straightforward, quick, and active; this probably isn't the right film for you. But its quiet nature will help you enjoy the beautiful visuals, music, and English voiceovers. Not my favorite Ghibli film, but still a good one.

Touch of Evil is an absolute classic of the noir genre. The opening scene is intense and iconic. Someone plants a bomb in the trunk of a car, a couple gets in the car, and then they drive a few blocks through a gritty border town, completely unaware of the cargo they're carrying. All while the audience waits for it to blow up. And it does. That is just the beginning of the film. The explosion soon brings together a Mexican drug investigator named Ramon Vargas (Charlton Heston) and an idolized police detective named Hank Quinlan (Orson Welles). The story does not only revolve around this mystery, but it also touches on the harrowing ordeals Vargas' wife (Janet Leigh) endures while awaiting her husband's return to their hotel room. The acting is top notch. Welles has a commanding presence in this film. He clearly expresses Quinlan's racism and hubris, and he almost steals every scene he is in. I say almost because every other actor is memorable in some way or another. This is a beautiful movie. I am no expert in cinematography or direction, but I heard Welles used many interesting techniques in this film that are now mainstays in Hollywood. If possible, watch the restored version. The studio tweaked and altered the film before its theatrical release, but in the process they made the film just as confusing as The Big Sleep. The newer version tries to restore the film to Welles' initial vision. Granted, the restored version's plot is still complex, but I hear it is easier to understand overall. This film requires you to pay somewhat close attention, but it is worth it though.