FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Stanley Kubrick |||
Stanley Kubrick

A filmmaker of international importance, Kubrick was one of the only directors to work within the Studio System and still have full artistic control over his films from scripting through post-production, prompting Time Magazine to compare Kubrick’s early independence with the magnitude of Orson Welles.

An uncompromising antiwar film, this gut-wrenching drama depicts a World War I officer as he labors with an ultimately futile defense for three painfully sympathetic men tried for cowardice. Kubrick artistically utilizes a beautifully washed-out black and white photography to represent the muddied boundaries of right and wrong, and the many gray areas that lay between.

A fabulous and inspiring adventure, this visually stunning epic stars Kirk Douglas as the heroic slave who fights to lead his people to freedom from Roman rule. Although a clear departure from Kubrick’s oeuvre, “Spartacus” is an all time classic helmed by a man with a precise vision who is equally capable of crafting colossal spectacle, tense tête-à-têtes, and a tender moment between lovers.

This film is so stylish it’s easy to forget it’s a horror film at heart. Considered to be the thinking man’s thriller, Kubrick molds this very particularly “Stephan King” material into the portfolio of his films about human failure, as the hero’s desperate desire to become somebody ends in frustration and tragedy.

Recommended by CarrieSpecht

Advertisement

Barbershop 2: Back in Business

By BrianOrndorf

February 6th, 2004

“Barbershop 2” achieves what most sequels can only wish for: it’s actually much better than the original film. Blessed with a new, more talented director who knows a thing or two about pace, as well as a couple of deeper pockets in the budget department, making this latest installment of the neighborhood barbershop saga is a solid, entertaining sit.


After fending off the temptation to sell his family barbershop, Calvin (Ice Cube) is now faced with another trial: direct competition, in the form of a high-end chain haircut shop opening across the street. Watching the community give in to a greedy land developer (Harry Lennix, “The Matrix Reloaded/Revolutions”), Calvin and his employees (including Cedric the Entertainer, Michael Ealy, Eve, Troy Garity, and Keenan Thompson) try to keep the shop alive, hoping the neighborhood will support their homegrown business even as they decide to change their particular way of conducting business, and lose their unique identity in the process.

2002’s “Barbershop” was a mild urban comedy encrusted with lessons about family, unity, and the valuable resource of community. Released during a hailstorm of less than ideal cinematic representations of the African-American community, the film was a rather large hit, considering its modest expectations. Beating its copycats to the punch, Ice Cube (who also produces) and company have set up shop again, a mere 16 months later, for “Barbershop 2.” And like a monthly visit to the barbershop, this sequel is basically the same style, just with a little more taken off the sides, and a much tighter fade.

Coming from the school of “if it ain’t broke, don’t fix it,” “Barbershop 2” picks up right where the original left off, with Calvin and his community fending off a new threat to his neighborhood institution. Call me a curmudgeon, but I found the first “Barbershop” to be an earnest, but helplessly disorganized motion picture, mixing long periods of welcome thought on the erosion of community pride with awful slapstick and 1st gear romances. “Barbershop 2” has the benefit of hindsight, with new director Kevin Rodney Sullivan (“How Stella Got Her Groove Back”) mixing the varying temperatures of the screenplay with more skill and an genuine effort to sharpen the pace. He even manages to make the rather blatant plugs placed throughout the film for the upcoming “Barbershop” spin-off, Queen Latifah’s “Beauty Shop,” seem like a natural forward movement of the story.

Under Sullivan’s guidance, the comedy is actually hilarious (thanks to a scene stealing Cedric the Entertainer, and Latifah‘s sly ribbing of his age during a neighborhood barbeque), the messages just a little bit more touching, and the drama runs deeper. This sequel builds on the laidback charms the original introduced, and like a good continuation should, develops the characters and the ideas with more finesse, since audiences are in a more forgiving mood with sequels. “Barbershop 2” is far from perfect though. It labors through the last act mechanics with inadequate passion, and I could really do without ever seeing the bottomlessly unfunny Keenan Thompson (“Saturday Night Live”) onscreen again. But Sullivan tightens the focus in his sequel, thus creating a better representation of the community spirit that Ice Cube was going after with his original film, outside of the entertaining shop floor trash-talking (“2” finds R. Kelly, Bill Clinton, and Luther Vandross as the targets) and romantic subplots that previously dominated attention.

What the two “Barbershop” films symbolize to the urban cinematic landscape is far more important than the films themselves, but “Barbershop 2” is a definite improvement on the core idea, and that’s all I was looking for.

My rating: B