Seven

Tags

1990's, Brad Pitt, David Fincher, Gwyneth Paltrow, Kevin Spacey, Morgan Freeman, Psychological Thriller, Seven

Film Title

Seven

Director

David Fincher

Starring

• Morgan Freeman as Detective William Somerset
• Brad Pitt as Detective David Mills
• Gwyneth Paltrow as Tracy Mills
• Kevin Spacey as John Doe

A deeply unsettling psychological thriller that plumbs the depths of horror and depravity, Seven is a masterpiece of mounting tension and nerve jangling suspense right up to the shocking climax.

In a bleak, constantly rain-soaked city, William Somerset is a soon to be retiring detective who has seven days left on the job. Somerset has become disillusioned with the abject horror of the world around him and just wants to be done with it. For his last case he is partnered with young and slightly cocky David Mills, who has just moved to the city with his pretty wife Tracy. The two don’t exactly hit it off right away, as Mills is there as a replacement for Somerset and the actions of the two are very different. But gradually, the two reach a level of respect for the other. They are first called in to investigate the murder of an obese man who was force-fed spaghetti until he literally imploded. Then a second murder occurs, this time of a wealthy defense attorney, whose blood was drained to write the word greed next to his body. The cerebral and sharp Somerset deduces a link between the two murders; they are enactments of the Seven Deadly Sins. Gluttony and greed have been accomplished, so there are five left to commit. Somerset and Mills find themselves in a most twisted investigation as the killer is always one step ahead of them and appears to delight in tormenting the two. As more bodies drop and the twisted logic of the killer gains momentum, both men are not prepared for what will eventually greet them as each sin is revealed in petrifying detail.

David Fincher casts a tightly wound and creepy spell here, with all his directing skills on show. His command over the camera is an art form, conjuring up the horrifying events that transpire with a building of assured suspense. The atmosphere of sinister mystery Seven drips from every frame, revealing a world of decrepit morals and nastiness that holds on to you tightly and refuses to let go. A lot of this is down to the absolutely masterful cinematography of Darius Khondji. Through the colour scheme that is largely grey or brown, the nightmarish investigation of Mills and Somerset comes to horrible life. The city they inhabit is never given a name, but Hell Town would be a good one. It’s a city that is decaying in every sense of the word and through the cinematography, it becomes something dark and acrid. The visuals are just spectacular(check the jittery title sequence for a better understanding) at conjuring up a grotesque yet intriguing spectacle as each murder gets progressively more alarming and horrifying. It is hard to recall a film that got the feel of a setting quite like how Seven does it; you are literally placed in the squalor of this unnamed city and there is no escape. The screenplay is also a key element that holds everything together, giving us a creepy inside look at deducing the reasons behind such despicable acts of murder and staging of the sins. While Seven has grisly moments, it gets most of the impact from not showing the murders being committed. Instead we, like Somerset and Mills, glimpse the slayings after the event and it is our imagination of what transpired that gives everything a chilling meaning and core. And talking of surprises, Seven boasts a most chilling and horrifying ending that knows how to catch you off guard. Howard Shore’s eerie score of dark ambience and riveting menace plays out like the film with the shocks and discoveries perfectly matched by the music.

A perfectly cast group of actors give their very best to this unnerving movie. Morgan Freeman shines as the older detective on his way out, but assigned this haunting last case. With deep knowledge and a world-weary look at things, Freeman make a compelling character both engaging and owlish. Just as good is Brad Pitt as the new detective, whose hot-headed approach clashes with Freeman’s calm but later moves along with it. Pitt plays the role in a way that allows Mills to be idealistic but also hampered at times by his go for action approach to the investigation. The work of the actors combined is a strength of Seven, particularly the chemistry of them as they come to a sense of understanding about the other. Gwyneth Paltrow is a lone female presence in the film, portraying the sweet but frustrated wife of Mills. Paltrow is very good with what she is given, projecting warmth and sadness in good measure. And last but not least is Kevin Spacey as the killer, who reveals himself in the latter stages of the story. It is a credit to his abilities that he is only in the film for around half an hour at most and still makes a startling impact. He plays John Doe as a twisted man of significant intellect whose warped view of the world is a driving force in his bloodletting. Spacey unnerves you here, finding the right notes of reptile menace and creepy logic to keep you glued to the screen when he’s around.

An absorbing and disturbing film, Seven succeeds on almost every level in unnerving the audience and providing some very memorable jolts of terror that never leave you.

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Dangerous Beauty

Tags

1990's, Based on a true story, Catherine McCormack, Dangerous Beauty, Drama, Fred Ward, Jacqueline Bisset, Marshall Herskovitz, Moira Kelly, Naomi Watts, Oliver Platt, Romance, Rufus Sewell

Film Title

Dangerous Beauty

Director

Marshall Herskovitz

Starring

• Catherine McCormack as Veronica Franco
• Rufus Sewell as Marco Venier
• Oliver Platt as Maffio Venier
• Jacqueline Bisset as Paolo Franco
• Fred Ward as Domenico Venier
• Moira Kelly as Beatrice Venier
• Naomi Watts as Giulia De Lezze

Taking basis from the true story of 16th Century courtesan and poet Veronica Franco, Dangerous Beauty is an underrated movie that finds a somewhat inspiring and passionate tale in the journey of a trailblazer who gained both respect and scorn.

16th Century Venice: women are seen as property and marriage has nothing to do with love, more for the sake of duty and money. Veronica Franco is a beautiful young girl with a passion for verse and desire for learning. She is of lowly birth, yet has a kittenish disposition that covers this. Young and passionate Veronica is in love with Senator’s son Marco Venier, and he returns that love. Yet due to the fact that she is of inferior birth and that her family can’t provide a dowry, the two can never marry. Devastated by this knowledge, she is consoled by her mother Paolo. Her mother then gives Veronica a talk on a path to that could liberate her to a comfortable existence. The profession in question is being a courtesan. Hearing this surprising advice from her mother, Veronica recoils at first at the idea of selling her body for profit. But once she hears that courtesans can have a sense of influence and rights to an education, she takes note. Forsaking her love for Marco, Veronica transforms due to her burgeoning intelligence and drive into a courtesan of which she becomes greatly renowned. Veronica finds her fortunes changing and her reputation growing, both for better and for worse in some quarters. She gains respect from a lot of people higher up the social ladder, yet earns the hate of ladies who see that their husbands could very well be Veronica’s clients. Her poetry flourishes and though the world that she inhabits is male-dominated, through her intellect and passion she gets a foothold in society. Yet Veronica, while gaining independence, craves the love of Marco secretly yet understands the precariousness of standing. Fate has other plans however as war brews, plague arrives and the Inquisition takes residence in Venice. Veronica is forced to testify in court about her life, to which she shows her mettle and takes aim at the hypocrisy of society in unconventional style.

A film like Dangerous Beauty had the potential to be overly sleazy and trashy, so it’s good that it steers clear of both by way of confident and understanding direction. Marshall Herskovitz has this innate ability to sympathise with the characters, mainly in the case of Veronica. He doesn’t pass judgement on her despite the profession she embarks on, portraying her more as a girl who takes the initiative in order to prosper in a world that is obsessed with social standing and class. A script filled with drama, romance and wittiness, stands Dangerous Beauty in good stead as it busts apart the hypocritical attitudes of the time and especially the burdens on women in general. The parts of humour, provided mostly by Veronica and her excellent way with words, moves the story along with a brisk pace that doesn’t scrimp on the deeper parts of the story either. Now with Dangerous Beauty being a film about a courtesan, there is a sexual tone to the movie. Yet as sensuality is presented, it is done in a way that isn’t just about naked bodies and sweating. Sex is a power play in a sort of way in Dangerous Beauty, exposing how women were looked at in the time but how Veronica switched it up with her untamed personality. There are some areas where the film can be a little uneven, but Dangerous Beauty is not harmed by this thankfully as its story and execution remain intact. Beauty is glimpsed through the vast array of colour that features heavily, the visual department really knock it out the park recreating 16th Century Venice. An expressive score encompasses the humour, drama and passion on display with beautiful shifts in emotional levels.

Catherine McCormack delivers a splendid performance here as the soul of the film. Imbuing Veronica with a keen intention to learn, seductiveness and later outspoken feeling, she truly is a marvel. Boasting a beauty yet a heart and desire, you can’t quite take your eyes off her. Plus, her interpretation of the often witty and poetic words Veronica speaks are both fun and refreshing. McCormack is simply like a breath of fresh air, boasting the right temperament and conviction for the part of a woman who refused to be compromised by chains and retained dignity. The character of Veronica Franco is supposed to stand out and man does Catherine McCormack do just that. Rufus Sewell exhibits a sensitivity and sense of conflict within nobleman Marco, who knows that he loves Veronica but is obliged by duty to marry someone else. We witness the stiffening of his backbone as Dangerous Beauty commences and he begins to change. One of the biggest stand outs after McCormack is Oliver Platt. He essays the role of Marco’s cousin who isn’t as well off as he and whose jealousy burns that Veronica’s poetry flourishes with a chance of money while his dwindles. Although the character is a wastrel, there are many notes of tragedy to him. Jacqueline Bisset is simply terrific as the extremely wise mother who instructs her daughter into the ways of a courtesan under her watchful eye. She boasts a delightfully observant cynicism that has been shaped through her years as a young woman in a male-dominated world and the way in which she can educate her daughter in how to gain something. Then we have Fred Ward who clearly has a ball with the role of Marco’s uncle, playing him with a wily understanding of his nephew’s needs and a genuine respect for Veronica, where others scorn her. Though largely in the background for a lot of Dangerous Beauty, Moira Kelly comes into her own later on with a scathing attack on the unfair treatment of women in society. And look out for an early role from Naomi Watts as the timid and dutiful wife chosen for Marco.

A satisfying and beautifully rendered drama of one woman and her integrity, Dangerous Beauty is sumptuous, fresh and at times quite funny. I greatly advise people to see this film as it is a pretty underappreciated one in my eyes.

The Craft

Tags

1990's, Andrew Fleming, Assumpta Serna, Christine Taylor, Fairuza Balk, Neve Campbell, Rachel True, Robin Tunney, Skeet Ulrich, Supernatural Horror, Teen Movie, The Craft

Film Title

The Craft

Director

Andrew Fleming

Starring

• Robin Tunney as Sarah Bailey
• Fairuza Balk as Nancy Downs
• Neve Campbell as Bonnie
• Rachel True as Rochelle
• Skeet Ulrich as Chris Hooker
• Christine Taylor as Laura Lizzie
• Assumpta Serna as Lirio

A blend of supernatural horror and a teen movie, The Craft is the kind of film that will appeal to me always. Witchcraft and the awkwardness of being a teenage outcast mix for eventful results.

Sarah Bailey is a lonely teenager who moves from San Francisco to Los Angeles. She is a troubled girl who feels isolated and once tried to kill herself due to personal demons. She begins to attend a Catholic School not long after arrival. Sarah is ostracized from the main in crowd, but she gains the attention of a trio of misfits. The group contains goth leader Nancy, shy Bonnie and sarcastic Rochelle. The girls in question have been dabbling in witchcraft and after witnessing the latent abilities that Sarah possesses, Sarah becomes a part of their group and friends with the outcast troika. This ultimately completes their witches circle and they all begin to use magic to aid them in their own troubles( of which each girl has many). Sarah wishes for popular jock Chris, who bad mouthed her to everyone, to like her and finds that he morphs into her personal lap dog. Quiet Bonnie, who has burn scars on her body, sees them vanish away. Rochelle gets revenge on a racist bully by causing her hair to fall out. And Nancy wants liberation from her white trash life and this is granted when her abusive stepfather dies, leaving her and her mother with a lot of money from a policy he took out. While the girls use magic for their own means and it comes in very handy, events take a disturbing turn. They invoke the spirit of a deity named Manon, and it impacts on them all. This is especially true of Nancy, who craves the power magic gives her and results in a descent into mania. Sarah realises this and sees that she must confront Nancy. Yet this is not as easy as that and the girls are eventually drawn into dark conflict, with dire consequences.

Andrew Fleming presents a film that shows witchcraft in something of a different light to the usual Hollywood fodder. Often witchcraft in movies is depicted as something evil, whereas here it is shown as something that is powerful and depends on how you use it. He twins this with the themes of alienation and troubles that each of the girls had, showing that they are united by their shared experiences and that by using magic it is an outlet for their collected frustrations. Fleming’s direction is confident as he slowly ladles on layers of darkness due to the girls playing about with magic and getting their fingers burned. A smarter than expected script elevates the movie with the way it fuses the supernatural with the pains of growing up. These are captured with great work from the writing and performances. The effects used within The Craft are actually still pretty good, especially a hallucinating scene late in the film and the girls using the power of glamour( the ability to make one look like another). It helps that there isn’t an overabundance of effects used, instead the story takes the main stage. A 90’s soundtrack provides just the ticket for this excellent brew, further enhanced also by the score that has an almost otherworldly and spiritual pulse to it. There is also a lot of fun to be gleaned from looking at how 90’s the movie is and how cool it still remains.

A cast of 90’s sensations features in The Craft, ensuring greatness from the roles given. In the lead of troubled Sarah, Robin Tunney is very convincing at exuding a lonely sense of melancholy and terror as her observance of magic begins to alarm her. Tunney is a relatable presence on screen and probably the main one who you get to know best during the run. Making one hell of an impression and stealing the movie in my eyes is Fairuza Balk. For me, she is an actress who has always had an off-the-wall appeal about her and that is evident in the part of Nancy. She completely rocks the sullen demeanor and snarling attitude of the part, plus a dark charisma to boot. As the movie progresses, Balk is seen displaying a real sense of horror in the latter stages of the film as Nancy becomes psychotic. When The Craft finishes, it is Fairuza Balk who will be in the memory for her performance. Neve Campbell is very good as the shy Bonnie, whose years of feeling ugly have taken an impact. Campbell interprets the part well, charting the rise of Bonnie’s confidence that slowly morphs into sheer narcissism and arrogance. Completing the quartet of witches, Rachel True finds emotion and subtlety in the form of Rochelle, who has been the victim of racial abuse for a long time and finally gets revenge. Skeet Ulrich takes the part of Chris, who becomes Sarah’s slave yet gets out of control while Christine Taylor is nasty and bitchy as the popular bitch getting her comeuppance for her taunting of Rochelle. In a small but pivotal role, Assumpta Serna exemplifies wisdom and experience as a magic shop owner who warns the girls of magic’s danger, but to no avail.

An assured movie that is nicely performed and enjoyable on a number of levels, The Craft is one of those movies you can watch time and time again.

Apologies for My Absence

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Apologies

I must apologise for my recent absence. My Internet began playing up a lot and it took me some time to get it sorted out. Thankfully it is now up and good again. I watched a few good films in the time when the connection of Internet was bad so you can expect some reviews very soon. It also gave me time to practice more nudism. The photo below may give you an idea of how I spent my time.

Ask Me Anything Part 2

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Ask Me Anything

One of the best parts of blogging is talking to the people I encounter and discussing movies and other things with them. I did a post like this a while back that I found very interesting and well received. And as I do like to promote talk between everyone, I wanted to do another one of these posts. So ask away fellow bloggers. All your questions will be answered. Just make sure no questions are offensive or nasty. Anything else is fine and I look forward to your questions as I am sure you guys have some cool questions.

One Catchy Song

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Catchy Song

Do you guys ever come across a song that seems to be ubiquitous and very catchy? I recently had this with the song ‘Fire’ by Barns Courtney. It appeared on an advert for something that I saw and ever since it has remained in my head. See what you make of the song.

The Lost Boys

Tags

1980's, Barnard Hughes, Comedy, Corey Feldman, Corey Haim, Dianne Wiest, Edward Herrmann, Horror, Jami Gertz, Jamison Newlander, Jason Patric, Joel Schumacher, Kiefer Sutherland, The Lost Boys

Film Title

The Lost Boys

Director

Joel Schumacher

Starring

• Jason Patric as Michael Emerson
• Corey Haim as Sam Emerson
• Kiefer Sutherland as David
• Corey Feldman as Edgar Frog
• Jamison Newlander as Alan Frog
• Jami Gertz as Star
• Dianne Wiest as Lucy Emerson
• Edward Herrmann as Max
• Barnard Hughes as Grandpa

A film that manages to bridge the gap between horror and comedy and a successful one at that, The Lost Boys is an inventive and irreverent movie that has a good few twists and outrageous moments to add to the vampire mix.

Teenager Michael and his younger brother Sam relocate from Phoenix to the beach side Californian town of Santa Carla with their mother Lucy, following her divorce. They move in with Lucy’s father, whose an eccentric man living on the outskirts of town. Exploring the Boardwalk, which is where everyone seems to go, (while their mother gets a job at the video store working for a quiet guy named Max), Michael and Sam both discover different things. Michael becomes curious and drawn to Star; a seductive young woman. She runs with a local gang of leather glad troublemakers headed by the charismatic David. David beckons Michael to join his and taunts him into an initiation that soon proves very dark for him. Meanwhile, Sam meets Edgar and Alan Frog, brothers who work in a comic store and speak of the town being overrun by vampires, which Sam sniggers at as being impossible. It soon becomes very apparent that David’s gang are not just teenagers but in fact savage vampires, who are probably behind all the cases of missing people around the town. Michael, who went through the initiation process without really knowing what it was, soon begins exhibiting strange powers and abilities that slowly take over. Sam notices this change within his brother and . Star is in fact in the same position of Michael as she isn’t a full vampire yet and wants to be rid of it. Worrying for his brother, Sam enlists the Frog Brothers in a fight to eradicate the vampires and save Michael and Star from the clutches eternal, blood-sucking life.

Joel Schumacher directs The Lost Boys with a clear control over it and a sense of fun that emerges throughout it. He wisely gets the humour and horror to both be effective, instead of a seesaw of up and down switches.  His flourishes of style are apparent yet don’t swallow the story. The best instance is the shots from the vampire’s perspective as they fly over the town, which is both creepy and exciting. As far as humour goes, The Lost Boys has it in abundance and forms a marvellous balance with tense horror within the tale. It captures both horror and laughs in quick succession, making sure you’re scared one minute and then laughing the next. The pace is very impressive as it introduces us to the characters and hints of weirdness, letting the darkness sink in as the presence of David and his gang becomes more known. I particularly enjoy the presentation of vampirism here as it has traditional elements, but boasts quite a few surprises in it. The vampires here are shown as seemingly cool and dangerous, the type of popular gang it would be easy to fall into. Yet once the vicious truth of them is known, they take on a different meaning altogether. This is twinned with a theme of peer pressure as Michael is shown to want to be one of the, but comes to see that it’s a living hell from which he needs to escape. David and his gang become the dark forces taking away the innocence of Michael with their powerful and unusual ways. The Lost Boys can also be seen as a teen movie due to this examination of adolescence, but thankfully it’s one of the better ones due to the main touches of horror and humour. And I must gives kudos to The Lost Boys for its absolute blast of a final act. The extended climax in which Sam and The Frog Brothers face off against the vampires is as creepy as it is exhilarating. And you have to love a horror movie that has inventive deaths aplenty, including death by stereo. In terms of visual style, one can view the movie as a great time capsule back to the 1980’s. The slick and glossy nature is still there, with the vampire lair a cool retreat that looks like something made for MTV. There is fun to be had in looking at the setting and style on show, in between the outrageous comedy and creepy shenanigans. A quintessential soundtrack of mostly 80’s songs does a great job by cutting the action to these grooves, including a great version of ‘People are Strange’ that opens the film and sets the foreboding tone.

A cool cast excellently does a good job in this horror flick. Jason Patrick has the required attitude and cool factor to play Michael, who soon becomes a victim of the vampires. Corey Haim hits the right notes of youthful enthusiasm and brotherly concern as Sam fights to stop his brother becoming a full-on vampire. Kiefer Sutherland is one of the best things in the film. His performance as leader of the vampire pack David, is unnerving yet darkly charismatic. David is a character who embodies darkness from every angle but who you can’t help but feel intrigued by. A lot of this comes down to Sutherland’s good work that makes creatures of the night seem very cool. The duo of Corey Feldman and Jamison Newlander as The Frog Brothers is inspired. These characters are geeky and amusing in their pursuit of vampires, you just have to here some of the one-liners between the two. It’s impossible not to have fun when these two are on screen doing their thing. Displaying a sensuality that is tempered by a deep-seated terror, Jami Gertz makes an impression as the beautiful half-vampire Star who is tired of the life she leads. Showing maternal anxiety and warmth is Dianne Wiest in the part of the boy’s mother, who doesn’t really know the kind of town she has moved them all into. Edward Herrmann excellently takes the role of the seemingly ordinary Max, who becomes interested in Lucy yet comes under suspicion from Sam and the Frog Brothers. And finally there is Barnard Hughes as the unusual but lovable Grandpa.

A gloriously enjoyable marriage of horror and dark comedy, The Lost Boys is deservedly a cult movie and it’s not at all difficult to decipher why.

A Girls Aloud Post

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Girls Aloud

I’m not ashamed to admit to being a fan of Girls Aloud. What can I say? I am a sucker for catchy pop tunes. Inspiration for this post came about when one of their songs was played in the radio and I remembered when it first was released. It had me thinking, I really miss Girls Aloud. They had such infectious songs, slightly zany lyrics and sex appeal. They boasted the fun factor that was hard to resist and there is no denying that their music wasn’t catchy as hell. I know they split up a few years back, but their music still remains evergreen. To bathe in the glory of the good days, here are some of their best songs.

 

 

Rising Sun

Tags

1990's, Cary-Hiroyuki Tagawa, Crime, Harvey Keitel, Kevin Anderson, Philip Kaufman, Ray Wise, Rising Sun, Sean Connery, Thriller, Tia Carrere, Wesley Snipes

Film Title

Rising Sun

Director

Philip Kaufman

Starring

• Sean Connery as Captain John Connor
• Wesley Snipes as Lt. Web Smith
• Harvey Keitel as Lt. Tom Graham
• Cary-Hiroyuki Tagawa as Eddie Sakamura
• Tia Carrere as Jingo Asakuma
• Kevin Anderson as Bob Richmond
• Ray Wise as Senator John Morton

A compelling but provocative thriller, Rising Sun functions as something of a commentary on the corruption of big business and less than warm relations between East and West. It gets pretty confounding and confusing in stretches, but it retains interest thanks to visuals and good playing from leads Sean Connery and Wesley Snipes.

The setting is Los Angeles, primarily a large, sprawling building that is the place of business for a largely Japanese conglomerate. A party is underway as the company attempts to get a lucrative deal to go through, yet unexpected things will soon take precedence. A blonde escort by the name of Cheryl Austin is found strangled to death in the boardroom, which threatens to cause a scandal for the company. Assigned to the murder case is police detective Web Smith, who is a good enough guy with a few flaws in his past. Also assigned to assist is retired Captain John Connor, whose knowledge of all things Japanese will be beneficial when dealing with suspects within the company. Overseeing things is Smith’s former police partner Tom Graham, who has a vendetta against the Japanese and makes sure everyone knows it. Evidence seems to point towards Eddie Sakamura, a tempestuous playboy who Connor knows the businessman father of. But wise, old Connor suspects that there is a lot more complexity to the case than anyone expected and with his sharp and scrupulous mind, it’s not hard to see why. He is proven right as this turns out to be no open shut case. Both Connor and Smith, though completely opposite in approach, discover it may reach very high up the business ladder and threaten to expose people at the top. Yet just when they think they know what’s going on, something new puts a dangerous spin on things. Chief among these is a tape that could implicate the guilty party, if it wasn’t for tampering with the visuals that are discovered to be altered. The mismatched duo learns to work with each other and used their respective smarts to crack a most bewildering and twisting case.

Philip Kaufman, always a director with a keen eye for visuals, displays that here with stylish atmosphere apparent from the very beginning. He paints a world tinged with noir that is insidious and corrupt from almost every angle( complete with almost constant rain and darkness)  One of the biggest criticisms aimed at both the film and the book on  which it is based is that it bashes Japan and paints a harsh portrait of business. I can’t vouch for either of those accusations as my knowledge of both is pretty limited. But people who say that the Japanese are portrayed badly here, should look at some of the American characters too. Plenty of them are corrupt and nasty as some of those in the company so I can’t see much of a basis for negative slander here. I can see some parts that could be deemed offensive, but I think Kaufman manages to keep most of these at bay. There is a technological side to Rising Sun that looks a bit dated now, but is nonetheless quite intriguing to watch and observe. In this edgy take, images can be distorted and the blame game soon follows, much like old-fashioned movies with a contemporary twist. An atmospheric score provides the strange backdrop for the murder investigation that proves anything but straightforward due to the sense of culture clash at the heart of the matter. It is the attention to details, much like the character of Connor, that impressed me the most in Rising Sun. It does have moments of action, but like a good thriller the investigative parts are what holds the interest as layer upon layer of complexity builds higher. Now after some time Rising Sun does get just a little bit convoluted and confusing to follow, yet it doesn’t bore you as it keeps you watching despite the often overly complex plot. The relationship of Connor and Smith keeps you rooted in the film and is one of the best parts, thanks to the respect and level footing each find eventually with the other.

Sean Connery is one of Rising Sun’s biggest draws. Exuding an almost stately manner through the character’s knowledge of Japanese customs and a twinkling grin that suggest a wily personality, Connery imprints his stamp on the part of an intelligent man whose attention to detail is what drives the shocking case in front of him. He exudes an avuncular tendency towards his younger charge, close to that of master and apprentice. Connery shares a good working relationship with Wesley Snipes, with the two bouncing off each other with their differing approaches to the murder case. Wesley Snipes more than holds his own against the illustrious Connery; generating dedication and wise ass responses as he becomes more bewildered by the shifting investigation in front of him. Harvey Keitel is reliably on hand to play the vicious and intolerant detective who is more than willing to prosecute the wrong man purely out of hatred. A standout part comes courtesy of Cary-Hiroyuki Tagawa. Playing the dissolute playboy who may have been taken for a ride and framed, he shows off both a charisma and fear that grows as the case tangles. As one of the only women in the movie, Tia Carrere provides sexiness and smarts as the computer expert who deduces that the tape that could reveal the criminal has been tampered with. Slimy tactics are the name of the game for both Kevin Anderson and Ray Wise as two men caught up in the corruption.

It may boggle the mind on occasion and some of it can become rather in your face, yet due to the good direction of Kaufman and acting from the lead, Rising Sun has its values as a serpentine thriller that is pretty slick.

What Is Your Opinion on Nudism?

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Nudism

As of late, I’ve seen a lot of articles and talk of nudism. It seems to be something that divides a lot of people. I myself am curious about it, as I do sometimes practice it. But I want to know what everyone else out there makes of it. So I ask, what are your thoughts on nudism? And why do you have those opinions? I think this post will be a good one to listen and read what everyone thinks about it.