I always feel like I have to start by relating to the average student to draw you into thinking about films you may not have seen. Well, have you seen "Avatar"? For all two of you who are going to leave because you didn't yet, please stay.
James Cameron, the director of "Avatar," has previously released another little movie called "Titanic." Ring a bell for anyone?
While both of the films are groundbreaking, I can't call them the greatest things since sliced bread. This is the part where I offend every "Titanic" lover by saying it is not the best movie of 1997.
Instead, "L.A. Confidential" should have garnered the Best Picture Oscar that year because it is superior in acting, storytelling and style. If you don't agree, let me hear about it.
If you haven't heard of this film, look it up and check it out at the library. Don't worry, I returned this one on time, unlike "Taxi Driver" from last week. The story revolves around the 1950s Los Angeles Police Department. Corruption runs rampant through the force, as celebrity and gossip dominate the culture.
Guy Pearce stars, but is overshadowed by an all-star line-up. Russell Crowe, James Cromwell, Kevin Spacey, Danny DeVito, David Strathairn and Kim Basinger lend solid performances in to make this the ensemble movie to see of the 1990s.
The story follows three cops, each pursuing different means of upholding the law. Simply put, you witness good cop, bad cop and an evolving corrupt cop. I won't spoil who is who, but you find out within the first 10 minutes of the movie anyway. They battle each other and the law to uncover a web of corruption that envelopes the city.
Period piece films suck me in every time. Something about old cars, costumes and ages gone by draw me into the screen much more. L.A. in the '50s never looked more beautiful with bright neon and the dingy underbelly of the hills. It amazes me how well a film can recreate the past while shooting on location in the streets of a modern-day metropolis.
"L.A. Confidential" strives to build upon film noir of the past. If you haven't built up your repertoire of older films, I suggest you start with the classic "The Maltese Falcon," then find "Chinatown," and you will see the inspiration for this film. I don't want to make this about another film, but "Chinatown" laid the foundation for neo-noir and modern detective dramas. "L.A. Confidential" has apparent style homage and even direct references, not to mention the same state as the setting. Coincidence?
I haven't evened touched on the corruption that fills the frame. Cops paid off, gossip columns narrating the film and mysterious crimes throughout town drive the plot forward. Everyone seems to pay off another person in some way, with only two characters maintaining their morals to a certain extent.
The most ironic part involves the screenwriter of the film Curtis Hanson. He co-wrote this film the same year he wrote a film called "The Postman." He won the Oscar for Best Adapted Screenplay for "L.A. Confidential," while also winning the Razzie for Worst Screenplay for "The Postman." (The Razzies are the opposite of the Oscars, and award the worst of Hollywood.)
Bringing things to the present, two (and a half) interesting films open this weekend. First Martin Scorsese's "Shutter Island" finally opens after its long delay. It does look like a cut-and-paste thriller starring Leonardo DiCaprio and Mark Ruffalo, but Scorsese knows how to get great performances and an interesting story.
The second film is Kevin Smith's new movie "Cop Out," which after changing names from "A Couple of Dicks," seems to be just as funny. Bruce Willis and Tracy Morgan star as an offbeat good cop, bad cop duo.
Finally, the film I'm half curious about is "The Ghost Writer" because it's the film Roman Polanski was editing when he was arrested and detained due to a decades-old rape charge.
Also releasing in Muncie is "Crazy Heart," which looks to be excellent with Jeff Bridges in his best role ever.
Get out to these promising weekend movies if you can, or stay in and check out a classic. Until the next exciting installment, get busy livin' or get busy dyin'.
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