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 tęte-ŕ-tętes, 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.

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Twisted

By BrianOrndorf

February 27th, 2004

The new serial killer/sex thriller “Twisted” recalls a day when Joe Eszterhas ruled the screenplay world. With its convoluted plotting, awful performances, and puzzler ending, “Twisted” had a clear shot at becoming a treasured guilty pleasure, but instead it’s just an old-fashioned bad time at the movies.


Jessica Shepard (Ashley Judd) is a San Francisco street cop who has just been promoted to detective. Her first case involves tracking a serial killer who has a peculiar choice of victim: ex-lovers involved with Jessica’s promiscuous and sexually violent lifestyle. Horrified, Jessica attempts to keep this information away from her mentor (Samuel L. Jackson) and her partner (Andy Garcia), as she tries to put the pieces together. But plagued by blackouts and her own disagreeable demeanor, Jessica begins suspect herself as the killer when the clues start pointing to her.

“Twisted” is a psychosexual thriller along the lines of the Joe Eszterhas screenplays that littered the 1990s film landscape (“Basic Instinct,” “Showgirls”). And much like those films, it’s an overheated, needlessly complex motion picture that eventually just gives up on itself. It doesn’t even cross over into shameful guilty pleasure country, like Eszterhas’s “Sliver” or “Jade.” “Twisted” is just a cleanly cut, old-fashioned bad movie.

Written by freshman Sarah Thorpe, “Twisted” opens with the sights and smells of a decent cop thriller, complete with a delicious mean streak trait that is shared by all the characters. The only real hero is Jessica, and she’s a law-bending, one-night-stand-loving officer of the people, who is also prone to excessive drinking and rough sex. You just don’t see that type of behavior from a lead character anymore. The director is Philip Kaufman, a filmmaker who knows a thing or two about kinky corners of sexuality (“Henry and June, “Quills”), as well as excessive film quality (“The Right Stuff”), and he seems a perfect choice to infuse “Twisted” with a creepy vibe of impending doom in both the homicide sense and in the sheets.

However, “Twisted” dies at almost the very moment it begins. Logic is a big tripwire, and the script sidesteps a lot of problems by having characters just disappear for no reason, or in Jessica’s case, simply blackout. The ending is also a jumble, containing a complete lack of sense, and it feels like the product of a screenwriter who was already two weeks late on delivering a draft and needed something quick. The entire film is poorly paced and awkwardly constructed, leaving little interest in the thriller proceedings that pop up occasionally to remind the audience what they came for.

Ashley Judd is another blunder of the film. I’ve liked Judd in the past, especially in her trademark thriller roles (“Double Jeopardy,” “High Crimes”), but she falters massively trying to bring Jessica to life. The appeal of the textured character is evident, but Judd can’t quite get a grip on the psychological complexity of the role, relying on a hard-ass approach that her elfish features betray. As Jessica’s world continues to dissolve and suspicions arise, Judd just gets worse, peaking with one scene that asks this hardened cop to open the floodgates of tears, unexpectedly eliciting big laughs in the process.

My rating: D-