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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Shadowboxer

By BrianOrndorf

August 4th, 2006

“Shadowboxer” is aspiring to be a sensual, violent look at life lived behind the gun. What it resembles more is a pay cable porn leftover, complete with a full frontal from Stephen Dorff, and Cuba Gooding Jr. diddling Helen Mirren in what looks like outtakes from “Legend.” “Shadowboxer” is a lot of things, but “good” just isn’t one of them.

Shadowboxer

When contract killer Rose (Helen Mirren) is diagnosed with cancer, she elects to continue with her work, aided by her stepson/lover Mikey (Cuba Gooding Jr.). When on a routine assignment, Rose balks at killing the pregnant wife (Vanessa Ferlito) of a gangster (Stephen Dorff), instead hiding her away as the three raise the child in seclusion. As the years pass, the frosty and distant Mikey becomes a father figure to the child, which endangers his life and profession when his past comes looking for revenge.

The way “Shadowboxer” moves, you can understand that it’s a film that wants to set itself apart from the routine hit man cinema agenda. Director Lee Daniels is hunting for anything that will stand out to the audience, so he goes to a very unexpected place: sex.

“Shadowboxer” is a mash-up of Luc Besson’s “The Professional” with one of those late night Cinemax films you watch when the kids are finally put to bed, with titles such as “Cancun Desire” or “Masseuse Nights.” The producer of “Monster’s Ball” and “The Woodsman,” Daniels know his way around making the viewer uncomfortable, but there’s a fine line between genuine, pants-tickling eroticism and “I can’t believe I’m watching this surrounded by strangers” soft-core porn.

Now, it’s not like I roll up the welcome mat at nudity, but the sexual material in this picture is gracelessly staged, frightfully filmed, and directed with all the zeal of a Shannon Tweed/Andrew Stevens epic. It’s gets embarrassing in a hurry. A majority of the cast strolls around naked (the notable exception being Mirren), and there’s a strong subplot covering incest in the threadbare script by William Lipz, but Daniels can’t find a secure way to develop that lust beyond mere raincoat voyeurism. Already cursed with bare-bones production values, the sex only manages to confuse “Shadowboxer,” and lure it away from anything close to a coherent and unique plot.

The other speed in Daniels’s repertoire is violence, which “Shadowboxer” features plenty of. The characters are cold-blooded assassins, and they act accordingly. There are blunt moments in the film which demonstrate Daniels has some ability as a filmmaker, but those are undercut with liberal usage of ugly step-frame processing pushing the look of the picture further into pay cable land.

“Shadowboxer” is something of a mess, but Daniels seems committed to seeing it all the way to the end and there’s something commendable in that defiance. Trouble is, he’s surely the only one who wants to stay until the end.

My rating: D