AJ Taylor

As a 30-year old man watching this film, I assumed I was supposed to empathize with the main character of Alain played by Maurice Ronet. Made by Louis Malle at the same age, this story of existential dread experienced by a former alcoholic writer lacks any real bite that could make it quite effective. A slow paced drama that sees a man trying to make sense of his life ends up being one where he comes across as a whiny man child who needs to get his shit together. He finds himself free from the sanitarium he was a part of to cure him of his addiction, even having a fling with a woman who can't be steady in his life. His struggles with drinking and women are only piled on by his poor writing, or a lack thereof as he only takes about it. One of his old friends drags him about being afraid of the normalcy of everyday life, as well as being scared of being a man and gaining any sense of stability. Not only is it hard to care about Alain to any capacity, but the film itself is hard to fully ingrain one's self in as it's missing a soul.

The weird nature of Peter Greenaway's films have been a very fascinating aspect of his work, and nothing says that better than "The Belly of an Architect." An arthouse drama paying homage to art and the art world, the paranoia and distrust built within the world of Rome makes for a mysterious tale of an architect on a downward spiral. In his best performance, Brian Dennehy plays Chicago architect Stourley Kracklite who heads to Rome with his wife Louisa to work on an exhibition. The project pays homage to one of his heroes in the 18th century architect Etienne-Louise Boullee, giving Kracklite more of a reason to take this on despite the obvious disdain for Americans from the Speckled family. The first act is one of the best introductions into a film's world ever, as we see Stourley and Louisa having intercourse on a train bringing them into the country. We then cut to a dinner scene where the couple is eating with the Speckler clan, but all is not what it seems as the sexual energy between Louisa and the envious Caspasian is on full display. The cinematography and music of this film come together in perfect harmony, creating a tone that is weird and unsettling yet beautiful. DP Sacha Vierny crafts some striking visuals that are benefited by minimalistic editing that allow the scenery to be taken in full. The symmetrical nature of each shot delivers images that feel right at home in an art book on a coffee table. The score composed by Wim Mertens and Glenn Bracha is truly exceptional, and it plays like that of background music in a gallery. Dennehy portrays self-torture, paranoia, and sheer agony in his performance. Kracklite journals his thoughts as the months go by, learning of his wife's pregnancy even though they've had trouble conceiving in the past. Chloe Webb has an awkward delivery of her lines in the film, an almost intentionally shaky voice that makes her eventual affair with Caspasian not a shocker. It's hinted that the food served to them might've been an aphrodisiac that made Louisa easily fall for Caspasian, but it's never confirmed. Lambert Wilson portrays a spiteful man who begins the eventual destruction of Stourley's life, even if the architect's own obsession with his work is another reason. Stourley finds himself suffering from constant stomach pains, potentially a result of poisoned figs he ate along with his other gluttonous endeavors. His discovery of his wife's affair, combined with her pregnancy and his own personal illness makes for a character arc that will not have a great ending. The conspiracy at the core of the film is done quite well, as we witness Stourley be very on edge on whether the Specklers are conspiring to take away his exhibition. It's also constantly teased that the architect will suffer a tragic fate similar to many of his artistic heroes, as a scene later in the film sees him and his doctor going past statues of dead artists and talking about how they perished. While this isn't everyone's cup of tea, there's something majestic about the film's ability to transport you and engross you into its story.

The work of filmmaker Martin Ritt has stood the test of time, but his magnum opus is the western drama "Hud." A character study with an immensely rich script based on the novel from Larry MacMurtry, it follows the Bannon family and chronicles the tumultuous relationship between father and son played by Paul Newman and Melvyn Douglas. In the middle is Lonnie played by Brandon deWilde, as he is stuck between being more like his chaotic uncle Hud or his upstanding grandfather in Homer. The way the film ushers you into its world is unbelievable, as the cinematography from James Wong Howe makes the story feel like a piece of time we're experiencing as flies on the wall. The opening shots of Texas delicately bring the viewer into the environment, and Elmer Bernstein's gorgeous guitar-based score couldn't be any more perfect. While performances such as Lukas Jackson, Butch Cassidy are the more popular of Newman's career, this is maybe him at his best. His portrayal of Hud is that of a wild animal, embodying recklessness and carelessness way before we ever meet him for the first time. Just a shop owner sweeping up the glass from his broken window and saying "I had Hud here last night" acts as a proper introduction to the title character. He is a heavy drinker, leading to him having a drunken stooper when he walks, but he's also a womanizer who has affairs with married women much to the dismay of his father Homer. Douglas portrays the Old guard with a rugged nature, a weathered old man on his last legs trying to run a farm despite being past his prime. That said, he values morals, integrity, and living by a code which Hud looks down upon. Lonnie is the future of the two men, a 17-year old with ambitions and an appetite for life represented by his non-stop hunger for good eating. Patricia Neal shines as housekeeper Alma, a woman with her own scars yet feels a part of this family as she cares for everyone and is the next woman Hud aims to have his way with one day. Their flirtatious chemistry is obvious, but Alma never ceases to stop him because she knows of his lustful ways and it makes Lonnie go after her because he is, in the words of his uncle, a "regular idealist." The script is a thing of beauty all on its own, telling a classic tale of the changing times as the past in Homer and the now in Hud clash constantly. There is an incident within the family that led to father and son not speaking for 15 years, and little by little it's revealed what happens until we get an explosive scene where Homer and Hud tear into one another verbally. While Hud is a very dislikable man, he garners so much sympathy due to his own pain and torture and the film's character are masterfully realized. Homer isn't just this old school man with good values, as we learn of his potential pitfalls as a father and see that Hud, while not innocent of any of his behaviors, is a product of his upbringing. Not only is this a stone cold masterpiece, but it makes a great double feature with "The Leopard" which also came out in 1963 and is another story about the old guard losing control and fading into the distance.

"Raiders of the Lost Ark" is the swashbuckling action- adventure films that fit within the phrase "they don't make 'em like they used to anymore." Steven Spielberg and George Lucas came together to create one of the greatest trilogies of all-time, one that was made as a B-movie project but went on to be a massive cinematic success. Lawrence Kasdan pens a magnificent screenplay filled with all the necessary ingredients for the epic thrill ride this is, and John Williams conducts one of his best scores ever. The music is so iconic that you know immediately what film it belongs to, and the casting of Harrison Ford as Indiana Jones remains one of the smartest of all-time. One of the last true movie stars to ever grace Hollywood, his charismatic persona relishes on screen and his chemistry with Karen Allen's Marion makes for one of the best romantic pairings. When a film can deliver amazing set pieces, smart comedy, a believable love story, and a lead character with resourcefulness, adaptability, and wits within a truly engaging story, it's a perfect adventure film. The globetrotting aspects are done to perfection, as we watch Indy embark on his journey in search of the Lost Ark of Tanis. There are so many brilliant choices made from a filmmaking standpoint, with the main one being the choice of Indy to shoot the man with the sword instead of engaging in battle. Not only does this fit Indy's character and his choices, but it's the most hilarious moment in the entire film. I've always watched this whenever I need creative inspiration, and the amount of love on screen is felt as you can see that Spielberg, Lucas, Kasdan, Ford, and Williams all wanted to make this film from a perspective of passion.

"Life lacks tenderness, doesn't it?" Who would've believed that a Bruce Springsteen song could inspire the story and script for Sean Penn's directorial debut? "The Indian Runner" is a really bleak look into the duality of man and human nature, but is supported by warmth and humor and an all-around stellar cast. Viggo Mortensen and David Morse as brothers Frank and Joe represent both sides of being a human being, the order and chaos needed to feel as if life is worth living. However, the film becomes a devastating story about the harsh reality that some people simply can't be saved from themselves. Charles Bronson, Patricia Marquette, and Valeria Golino provide a great supporting cast.

"The Asphalt Jungle" is a bleak and violent look into the life of crime, as one elaborate and well planned heist goes absolutely off the rails. What makes this so special is how every character is established early on as not being good people, but not in a way condemning them but simply pointing out their ways in a matter-of-fact manner. Sterling Hayden is always great but he's exceptional here as Dix, a man who is hired by newly released criminal Doc to pull off a heist worth half a million dollars. The obvious double-crossing of the people involved isn't a hidden reveal, but made obvious which only makes the story and characters stand out even more and it delivers a soul-crushing ending. It is a story that humanizes certain characters to show they want out of this life, seeking normality in their existence. It's easy to see how this film from John Huston could've influenced the crime films of Michael Mann such as "Heat" and "Thief."

Watching Ron Howard's "Apollo 13" this morning really nailed the point home that space exploration can be made to be intense, especially considering this being based on true events. Tom Hanks, Bill Paxton, and Kevin Bacon have amazing camaraderie as Jim Lovell, Fred Haise, and Jack Swigert respectively. Ed Harris as Gene Kranz is the perfect actor to portray a commander who refuses anything less but success to bring the men back home, while Gary Sinise as Ken Mattingly comes through as someone originally removed from the Apollo 13 mission due to contracting measles but proves a necessary hero in the end. Great cinematography, sound design, and direction make for a very scary film with relief in the end.

While "North by Northwest" is my favorite Alfred Hitchcock film, his 1954 classic "Rear Window" is a very close second as it's a masterclass in audience manipulation. Based on a short story titled "It Had to be Murder" written by Cornell Woolrich aka William Irish, it tells the story of a news photographer named L.B. Jeffries who finds himself confined to his apartment for six weeks after an accident leaves him with a cast on his foot and in a wheelchair. With nothing else to do besides becoming voyeuristic towards his neighbors, he begins to watch the various people in his complex when a neighbor begins acting highly suspicious. This leads Jeffries to believe that the man has killed his wife, as her sudden disappearance and the man's odd behavior is caught through the binoculars and telephoto lens that our protagonist owns and this makes for a gripping mystery thriller and one of the best ever made. The genius of this film is how Hitchcock crafts the character of Jeffries, as the story is told from his point of view which turns us into voyeurs and has us believing what we see. However, a seed of doubt is created in our minds as Jeffries is presented as both a deeply concerned neighbor but also a nosy one whose boredom has led him to make crazy claims with no tangible proof. The camera work and editing here is spectacular, as we get various shots of people in their apartment living their lives and cut to James Stewart to get his reaction to it all and he tells us a lot just with facial expressions alone. We're never taken away from his perspective because it would otherwise take away from the magic of the film, as through his eyes we become just as curious as Jeffries while also believing that he's completely out of his jurisdiction. Stewart is great as our main character, as so much work is done for him before we get into the meat of the story that makes him a very compelling protagonist. He is a man who finds himself in a relationship with a woman named Lisa played by the extremely gorgeous Grace Kelly, but he looks to end it with her due to his own insecurities regarding their compatibility of lifestyles. Kelly is both stunning and classy as Lisa, someone who simply wants to love Jeffries for who he is but finds it difficult because of his stubborn nature and it makes for great comedic moments. Thelma Ritter as Stella is Jeffries's masseuse who talks sense into him regarding his current physical condition, as she feels he should relax and not get caught up in spying on his neighbors while Wendell Corey as Lt. Doyle acts as the one Jeffries consistently bothers about his neighbor's suspicious activity. The art direction from Hal Pereira and Joe McMillan Johnson is perfect for this story, with each apartment fusing within the same courtyard and each neighbor having their window open yet never paying attention to their surroundings. The cinematography from Robert Burks is beautiful, as the use of shadows creates a noir tone as this mystery develops throughout the film. What I truly love is how, similar to that of "M," this film highlights the dangers of not knowing your neighbors and never taking interest in what's going on around you as a scene involving a dog really gets this message across clearly. We all fear not knowing if the person next door to us is hiding sinister secrets, yet we don't want to be bothered with it on our own until it's too late and this character is willing to put his own safety on the line to expose a murderer within the complex. This is one of Hitchcock's best films.

Neil Marshall has had a very interesting film career to say the least, as he's made a cult classic like "Dog Soldiers" and a critical and financial disaster with 2019's Hellboy remake. That said, his work on the 2005 horror film "The Descent" is his greatest success as he crafted a claustrophobic and anxiety-filled horror thriller set in a gross, slimy, dark cave and builds up the tension so tight you need room to breathe. It tells the story of a group of friends who decide to go cave dwelling in the mountains of North Carolina, with the main character of Sarah needing it a year after a truly traumatic event in her life. However, what they end up dealing with are a group of flesh-eating monsters who live underground and it makes for a simple plot where the scares are very effective. The characters in this film aren't the most interesting or layered, but they don't need to be for us to follow them and see some get made into carnage candy. This is a fun horror film that knows what it is and plays to its strengths by simply being a gruesome, blood-soaked monster slasher film and it relishes in all its glory. The main character of Sarah played by Shauna MacDonald is obviously the most interesting of the bunch as we learn of the incident that has haunted her for over a year, and she views this trip as a way to get her mind off things only to be haunted but something much more sinister and dark. What makes the people involved matter is seeing the ways in which they try to survive, with their reactions being real as they struggle to overcome this horrendous situation. The cinematography is foggy and potent with color, as the use of red, black, and even green come through to create a look that is a match made in heaven for this story. Every scene benefits from having things so tight that there's no room to breathe for the characters or the audience, as things get sweaty, grotesque, and male you want to take a bath when it's all over. The monsters themselves are some of the best created in modern horror, as they are sensitive to sound and use it to hunt down their prey and the kills they deliver are BRUTAL. This feels like the female-led version of "The Thing" as it has the same feeling of dread and danger, but isn't as quite nihilistic and hopeless as that film. The ending is honestly one of the greatest in recent memory for a horror film, as it is a fake out of epic proportions and much better than the alternate version which was much more standard for a typical Hollywood final scene. One thing that stood to me this time around when watching "The Descent" is how much this film is all about survival, with these friends being extremely quick to turn on each other in order to make it out alive. The hallucinatory feeling this film exudes affects the characters and their choices, as some of these women are willing to let their friend die in order to live and the gargoyle-inspired creatures really wreck shop in this cave because of it. There is a lot to love about this film, and it's easily one of my favorite horror films ever made.

Clint Eastwood's Oscar-winning drama "Million Dollar Baby" is able to transcend the tropes of a sports film by being a character-driven story centered around multilayered and complex people. Written by Paul Haggis, it stars Eastwood, Hilary Swank, and Morgan Freeman in a film that saw them all nominated for Academy Awards as this film tells a story about redemption, tragedy, and heart. We follow Frankie Dunn, a veteran boxing trainer who doesn't get close to many people aside from his long-time friend Eddie "Scrap Iron" Dupris, which is what makes the arrival of a woman named Maggie Fitzgerald very special. She asks Frankie to train her, which he immediately rejects saying "I don't train girls" but eventually he gives in and we get a beautiful relationship between the two that changes them both, even though it ends in one of the worst ways possible. Clint Eastwood is an icon both in front of and behind the camera, and this film is truly a result of his direction. He tells this story with a tender hand that explores the beauty within these people, seeing each person as someone with deep desires, regrets, and pain which makes them more than the standard people in a feel-good boxing movie. Eastwood as Frankie portrays the stubborn old man who refuses to train a woman for boxing, but he begins to change his tune as he starts to view Maggie as a shot at redemption due to his estranged relationship with his own daughter. Morgan Freeman provides much needed narration as Eddie, as with anyone else this would've been very annoying but his voice is soothing and calm to where you want to hear him read the nutrition facts of a box of cereal. Hilary Swank as Maggie creates one of the easiest characters to like in a film, with her background and overall determination to make her dreams come true being the reason she continues to take "NO" for an answer. The musical score for this film was conducted by Eastwood himself, showing more of his talents as if he needed any more shine. It's a beautiful guitar solo that captures the tender nature of this story, almost as if we're intruding on a very intimate relationship between a father and daughter as the film becomes more dramatic. What I love most is how this film really highlights the psychology of boxing as Eddie mentions how unnatural an act the sport is as "everything about it is backwards," something we see in boxers like Willie played by Mike Colter. We also see the various lessons taught by Frankie and Eddie to other boxers about fighting and life in general, and how the sport is a great metaphor for one's approach to life as being able to hit and take a hit determines your spirit. The relationship between Frankie and Maggie is this film's heart and soul, as both become the family to each other that they lack in their lives. Frankie is a lonely man who fears risk, as a past event involving Eddie led to him being afraid to ever put another boxer's life in danger but Maggie makes him change his ways as she refuses to give up on her dreams. With Maggie, she has no one as she is basically distant from her mom and siblings, her father is dead, and aside from working as a waitress she has nothing good in her life except boxing. Frankie becomes not only her trainer, but someone who looks after her before and even after the very tragic incident in the film that breaks your heart. While the final act of this film is a depressing way to end this story, this is a film about it never being too late to follow your dreams even if you only taste success for a brief moment.