FilmJerk Favorites

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

||| John Ford |||
John Ford

One of the art form's grand masters of all time, Ford is responsible for influencing the seminal directors of generation after generation. Strongly associated with the impressive body of work created over a lifetime with collaborator John Wayne, it is nearly impossible to choose just three… but here it goes.

This powerful winner of the Best Picture Academy Award is set in Wales at the turn of the 19th century, and tells the story of a family of miners, whose lives are filled with danger and repression. The film is beautifully crafted, lovingly depicting the gut wrenching sacrifices and light-hearted moments that are elemental to family life, making this film a true representation of the craft that is unmistakably John Ford.

This film is told in flashback as James Stewart, after a long absence, returns home for the funeral of a friend who saved his life from a sadistic outlaw. This classic covers every essential element required to qualify as a western epic from unlikely friends to the girl who comes between them, to the enemy they both despise, but handle with extremely different approaches, to Fords signature cast of supporting characters, all combine to make this a staple for every fan of this uniquely American genre.

This romantic comedy seen through the eyes of John Ford has John Wayne ( an American-raised boxer) go to Ireland to the village of his birth, fall for feisty Maureen O'Hara, and fight with town ruffian Victor McLaglen in one of the all time classic screen brawls. This is an exceptionally fine romantic movie that with Ford’s capable bravado manages to be a film that any man’s man can openly enjoy.

Recommended by CarrieSpecht

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Happy Endings

By BrianOrndorf

July 15th, 2005

With “Bounce,” Don Roos demonstrated that he didn’t need cynicism and independent film crutches to get by as much as he did in his disagreeable debut feature, “The Opposite of Sex.” “Happy Endings” finds the director grimly returning to his roots, crafting a film that is neither interesting nor enjoyable. A fine stable of actors are left out to hang with Roos’s limp multi-character screenplay.


As teenagers, stepsiblings Mamie (Lisa Kudrow) and Charley (Steve Coogan) enjoyed a moment of passion, soon giving birth to a boy that was put up for adoption. Years later, an unwashed film geek named Nicky (Jesse Bradford) comes into Mamie's life with information on her son's whereabouts. Intrigued, Mamie offers Nicky a chance to make a documentary on her masseuse boyfriend's sexual activities at work while she investigates the validity of Nicky's story. Across the city, Jude (Maggie Gyllenhaal), a homeless, wandering free spirit has just found her meal ticket with a rich family (Jason Ritter and Tom Arnold) that she slowly seduces and destroys to suit her needs.

Five years ago, writer/director Don Roos lost a good portion of his fanbase by taking on the more Hollywood-minded "Bounce," a romantic drama with Gwyneth Paltrow and Ben Affleck. A charming, compassionate creation, "Bounce" thankfully took Roos a million miles away from his caustic, unfunny debut, 1998's "The Opposite of Sex." "Happy Endings" appears to be Roos going back after the "Sex" crowd that left in a huff once Paltrow and Affleck started making googly-eyes at each other. The desperation to be witty and sarcastic has returned to Roos in a big way with "Endings," as well as the tedious nature of his scriptwriting.

As with "Sex," "Endings" is a multiple character saga about deception and one-liners, sold with Roos's predilection for meek comedy and cutesy character flourishes. This isn't a well balanced film, which is evident in the way Roos undercuts all the performances by placing expository title cards on the screen to spell out character motivations and futures. This brings back the lackluster vibe of "Sex," which aimed for snarky comedy and undeserved pathos, and failed miserably. "Endings" is a cinematic step up from "Sex," but missing are the well-rounded and empathic textures of "Bounce," which Roos tries unsuccessfully to recreate in the finale of "Endings."

Also notable are the hair performances in the film. It's odd to mention, but I can't imagine this went by Roos unnoticed. Every character has a haircut that defines their personality, whether it's Mamie's "I have secrets" dark bangs, Jude's "I can't be trusted" messy buzz cut, or, obnoxiously, Nicky's greasy long hair which screams "hipster Hollywood" (complete with ironic heavy metal t-shirt and film-making aspirations). The hair eventually becomes distracting since the cast can't keep their hands off their own heads, and is shamelessly there to provide character identification that Roos can't seem to conjure in his script. "Happy Endings" needed much more than the intricacies of styling gel to explore the heart of its characters.

My rating: D+