FilmJerk Favorites

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

||| Francis Ford Coppola |||
Francis Ford Coppola

Coppola is an amazing talent whose inspiration and influence spans many generations. Virtually the link between the studio system of yesteryear and the independent minded filmmaker of the modern age, Coppola became the first major film director to emerge from a university degree program in filmmaking, thus legitimizing a now common route for many future filmmakers.

This Academy Award winner continues to enjoy an enormous critical and popular success due in large part to Coppola’s ability to break down an epic saga of crime and the struggle for power into the basic story of a father and his sons, punctuating the prevalent theme throughout Coppola’s oeuvre: the importance of family in today’s world. His personal portrait mixed tender moments with harsh brutality and redefined the genre of gangster films.

This intense, yet unassuming thriller has an impact that touches the viewer on a personal level and raises the question of privacy and security in a world of technology – thirty years ago! Coppola’s then virtually unknown cast is a roster of inevitable superstars, including Gene Hackman, Harrison Ford, and Robert Duvall. This Academy Award nominee for Best Picture, Best Original Screenplay, and Best Sound lost out to Coppola’s other great effort of the year, The Godfather: Part II.

Coppola's masterful Vietnam War-updating of Joseph Conrad's "Heart of Darkness" was the first major motion picture about the infamous “conflict”. This colossal epic was shot on location in the Philippines over the course of more than a year and contains some of the most extraordinary combat footage ever filmed. Unforgettable battle sequences and sterling performances from every cast member (including Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne, Harrison Ford, Scott Glenn, and Martin Sheen) mark this Academy Award-winning drama as a must-see for any true film fanatic.

Recommended by CarrieSpecht

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New York Minute

By BrianOrndorf

May 5th, 2004

Coasting on their cherubic looks for far too long now, Mary-Kate and Ashley Olsen have finally been brought back down to Earth. “New York Minute” is a blatant attempt to move these two girls into the hotly contested game of teenage stardom, but without the slightest bit of acting ability from the sisters, the movie fails. Shrill, far too quickly paced, and wasteful of good comedic supporting talent, “New York Minute” is one long bore.


As two sisters who have little in common, metalhead Roxy (Mary-Kate Olsen) and control freak Jane (Ashley Olsen) are preparing for a big day in their young lives. Heading into New York City so Jane can give a speech that will determine her collegiate future, and Roxy can skip school to attend a music video shoot, the two girls falls quickly into madcap trouble when a valuable computer chip falls into their possession, and ruthless Asian assassin (Andy Richter, who deserves better) wants it back. Also on their heels is Max Lomax (Eugene Levy, paying bills), a truant officer who has been after Roxy for years, and spies a chance to bust her once and for all. Running back and forth through the streets and sewers of New York, the two girls struggle to work together, after years of an antagonistic relationship, to save the day.

Mary Kate and Ashley Olsen have sold millions of CDs, videos, and various other trinkets to families across America for nearly 15 years. Combined, they are worth a vast fortune, and they’re only the ripe young age of 17. But their latest film, “New York Minute,” reveals the dark truth about these unlikely media moguls: they can’t act.

“Minute” is a very transparent attempt to take the Olsen sisters from the easygoing likeability of childhood to the unsophisticated, judgmental world of teenagers. Why would they want to leave such a good thing, I’ll never know. But if “Minute” is a warning shot for what is coming in the future from the former “Olsen Twins,” then we all should run for cover.

A frenzied, disorderly take on comic slapstick and farcical plotting, “Minute” can claim one victory: it never tuckers out. Edited without any common sense (there‘s a lot of split-screen for no good reason), and persistently moving the narrative along briskly so nobody can ponder the potential offensiveness of the stereotypes presented or the jokes delivered, “Minute” doesn’t ever take a breath. Directed by Dennie Gordon (“Joe Dirt,” “What a Girl Wants”), the film is like an “I Love Lucy” sketch crossed with a lame music video, much like the one the “band” Simple Plan makes in the film, and the results are quite irritating and deeply unfunny. The unfunny part is odd, since there are so many comic talents to count on for some giggles. Eugene Levy, “SNL’s” Darrell Hammond, Andrea Martin, and Andy Richter all look very lost trying to be goofy in a picture that doesn’t deserve them.

Stepping away from their straight-to-video gridlock of fame, Mary-Kate and Ashley aren’t exactly barnstorming comedic talents. Spending their whole lives coasting on their youthful looks, “Minute” makes the loss of that crutch painfully clear. Cursed with a chirpy monotone and a well-oiled ease in front of the camera, the sisters aren’t a disaster in their lead roles, but their bland delivery and reliance on chic outfits and hairstyles grows tiresome fast. Once the moment of “drama” comes around mid-movie, it’s clear that Mary-Kate and Ashley aren’t exactly ready for the big screen like their competition, such as Lindsay Lohan or Hilary Duff. Their cherubic faces are blossoming into womanhood, effectively destroying their marketability as pre-teen icons, and revealing what little appeal they truly have.

I must admit, to have a film about teenagers that doesn’t feature cliques, high school, or 80s nostalgia is nice, and the Olsen sisters deserve some credit for avoiding these plots that have recently clogged the marketplace. But a fresh angle on teendom isn’t enough to excuse the rest of this shrill picture.

My rating: D+