FilmJerk Favorites

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

||| Alfred Hitchcock |||
Alfred Hitchcock

This is perhaps an obvious choice, however, most people tend to overlook the Master of Suspense’s early work as well as the relevancy of his last film as a key element in the continuing transition and development of the genre he defined.

One of Hitchcock's early triumphs, this predecessor to the mistaken identity man on the run scenario Hitchcock turned to time and again, stars Robert Donat as the innocent wrongly accused of murder and pursued by both the police and enemy spies. This is the first example of Hitchcock’s mastery over the suspense tale, giving us a glimpse of the greatness to come.

Considered to be one of Alfred Hitchcock's greatest works, this story of two men who meet by chance on a train and frivolously discuss swapping murders is a prime example of a common Hitchcock theme of the man who suddenly finds himself within a nightmare world over which he has no control. You can easily see how this film lays the ground work for the more popular “North by Northwest”.

Alfred Hitchcock's final film is a light-hearted thriller involving phony psychics, kidnappers and organized religion, all of which cross paths in the search for a missing heir and a fortune in jewels. Here, Hitchcock has brilliantly developed his signature form to include the now common, and often overused, device of plot twist, after plot twist, after plot twist. Widescreen!

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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