8 1/2 (1963). The opening scene of 8 1/2 reveals two things, that this film is going to be brilliant and difficult. It does not disappoint on either account, but it is a little deceptive at first in its delivery, almost threatening to become a rather drab affair with no reason to stick around. But Fellini's classic goes from being a smug and pretentious innuendo to a movie that threatens, almost challenges the viewer to figure what is real, dream, memory, and fantasy. The import of such a tactic is to help the viewer come face to face with the film's protagonist, a movie director with a litany of problems. In doing so we are transported into the mind of director Guido, a mind offended by reality and prone to any form of escapism, but whose dreams relentlessly reflects his problems and that their owner be he.

At this first viewing I took home much of the message, but 8 1/2 is a movie that will likely take several viewings to understand its many nuances, its profound images and symbolic messages, but such drivel is not going to champion my common sense and instead I will carry forth with this more than imperfect review.

The story is both simple and complex. On the simple side is a director forced to face problems that are of his own creation. But this film is weary of any hint of linear direction, and as such it is never apparent what mythic form of reality is being composed onscreen, and it does this seamlessly and without warning. Confusing for sure, for those with even the slightest capacity to keep up, these building realities show how Guido is forced to come to terms with himself, his situation, and his people. This nonlinear story is also the only way that the audience could ever come to understand Guido the man, a blatantly imperfect individual that enjoys audience affection despite his depravities. Once this becomes apparent, as each and every scene opens up the world as perceived by Guido, more and more are we able to be entertained by his antics, his escapism, and even the final moment when self revelation will either make or break him. If still in doubt, the infamous harem scene is reason enough to take in the whole of this demanding film.

The acting was phenomenal. Mastroianni leads 8 1/2 as a director that has lost his vocational way amongst the throngs of people that all want something from him, warranted or not. There is not a stinker amongst this unruly crew, but a special note must be offered to a buxom Eddra Gale for her stunning personification of a shameless lack of self-consciousness by way of a rumba. She embodies her whole girth with such aplomb that she becomes alluring despite her absence of pulchritude.

Writer/director Federico Fellini accomplishes a masterpiece in this semi-autobiographical work that incongruously takes a personal problem and exploits its artistic potential for all that it's worth. The technicalities are nigh perfect. The photography, lighting, audio, etc., are all memorably used to stuff this movie so full of meaning that repeated viewings is almost part of the audience's unwritten contract.

In the end, the answer that is found is so simplistic that it almost seems unnecessary, but as the rest of us humans cannot accomplish the simple art that our director friend has finally discovered, it obviously needed to be put onto a silver platter for the rest of us knuckleheads to have a chance at its grasp.
d

Neds (Non-Educated DelinquentS) (2010)

http://i1097.photobucket.com/albums/...idhdc/Neds.jpg

>>: B+

Maximum Overdrive (1986)

http://l.yimg.com/a/i/us/mov/video/i.../00/175000.jpg

>>: C+

"The adjustment bureau" 5-6/10

A very pale love version of The Matrix.

They should've been using the doors a LOT more.

Had a movie binge with a mate yesterday and I saw The Adjustment Bureau and I agree more of the doors would have been welcome it was more of a love story-it had potential but more could have been done with it. I also saw The Resident, Wolvesbane, Hyenas and Primal

Black Swan: Great movie. It's a no-brainer why Natalie Portman won the Oscar. She was amazing on all counts.

I also saw The Mechanic which was a bit of a joke really but I did laugh a lot :)

I watched "Death Watch" and "Wilderness" on Netflix recently. Best horror movies I've seen in years.

I Spit on Your Grave (2010). Excellent movie!

I agree.......she did an excellent job playing a very messed up ballerina!

Mindhunters (2004) Against my better sense, I am giving this movie the time of day out of utter boredom, that and the fact that IMDB has this listed at 6.2 when it should be in the moderate production-value rubbish bin. The actors are off the hook this time, but I do hope that their agents received a not so gentle scrubbing after recommending this to Kilmer, Slater and crew. #failure. Let's begin with the story, a friggin' whodunit that keeps the viewer guessing at why the hell he or she is still sitting there. To help keep the confusion coming, good guys suddenly start acting like cereal killers, retardedly reverting back to heroics to save the day. The action sequences were fabulous muddles of action that could have been better if they were choreographed by my autistic baby nephew. The guy that did the CGI should have first learned how to turn on the computer. And that music, thanklessly prying my agonized brain away from the stupidity of the plot to get a laugh at music that was probably stolen from the local kindergarten art production facility. So there it is, my sales pitch that time would be better spent yelling out racial slurs in East LA, where at least the thrills are certain to be realistic.
d