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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MirrorMask (BrianOrndorf)

By BrianOrndorf

October 6th, 2005

The Jim Henson Company returns to fantasy, the genre that showcased their best imaginative efforts, with “MirrorMask.” While the absence of puppetry and widescreen depth is missed greatly, the picture is a nice return of adult fantasy to the big screen, featuring complicated CG visuals that will surely make eyes pop.


Helena (Stephanie Leonidas) is a young juggler frustrated with her life working in her family's circus. After a particularly vicious fight with her mother Joanne (Gina McKee, "Notting Hill"), Helena wishes her dead, and is soon paralyzed with guilt when Joanne is rushed to the hospital that very night. Falling asleep with reminders of her intricate drawings surrounding her, Helena wakes up in a fantasyland of masked creatures, towering sights, and an evil queen (also played by McKee) who wants to rule this otherworld. With the help of a local, Valentine (Jason Barry), Helena battles her way through danger and mystery, looking for a special mask that will restore peace to the land and save her mother.

Looking to get back their fertile fantasy roots, The Jim Henson Company brings to the screen "MirrorMask." A fireworks display for the eyes, and an overdue dose of sincerity for the genre, "MirrorMask" mostly delivers on its complex promises.

The press notes stress that the Henson crew was looking to resurrect the fantasy entertainment that made them legends in the 1980s, with the wonderful "Labyrinth," and Jim Henson's masterpiece, "The Dark Crystal." For fans looking for that puppet-and-magic high, "MirrorMask" doesn't deliver on that level of optical thrills. Rendered almost entirely with shimmery golden CGI backgrounds and wildly imagined fantasy characters, there's a disconcerting polish to the film that doesn't envelope the viewer the way practical locations and people in rubber suits can. That doesn't suggest the tech credits aren't proficient (love those human/feline hybrids), and, at times, the landscapes are quite sumptuous, but the glossy, 1994-CD-Rom-adventure-game visuals seem to take away the immediacy and texture of Helena's danger in her new surroundings, and, at times, pop that crucial balloon of wonderment.

With beloved fantasy writer Neil Gaiman assuming script duties, "MirrorMask" features incredible depth in its settings and spots of originality in its story. While essentially a reimagining of "Alice in Wonderland," with a bit of "Labyrinth" thrown in for good measure, Gaiman instills in the film a strong sense of the abstract. He also crams in entertaining messages on the magic of books (sometime literally), and the importance of imagination. Gaiman's vision for the film is cluttered, but commendably ambitious, and he succeeds more than he fails in crafting an adventure/fantasy for thinking audiences.

Director David McKean does a capable job sorting out the many unique dreamlike sequences, and he accomplishes quite an intricate motion picture for a film with a shockingly low budget (reportedly 4 million). While some faulty ideas seep in (the Massive Attack meets Kenny G musical score kills the opening moments), McKean maintains "MirrorMask" through the many flavors of fantasy that it enjoys. It isn't a perfect landing on this return flight for the Henson Company, but I really enjoyed the journey, even if technical progress has made the true magic of the genre obsolete.

My rating: B