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

||| John Huston |||
John Huston

Over the span of his impressive career director John Huston created one of the most distinctive signatures in the history of the movies without limiting the incredible range of his subject or choice of genre.

At first it's hard to believe that macho director John Huston could be responsible or such a sweet and touching story of a Novitiate nun (Deborah Kerr) and a Marine (Robert Mitchum) dependant on one another as they hide from the Japanese on a Pacific island, but for those familiar with "The African Queen" it isn't hard to see his influence on the strong yet subtle impressive performance he draws from Mitchum and the ever present excitement he creates in this WWII drama. In Widescreen!

Only a director as abundantly macho as John Huston could so adeptly handle such testosterone laden stars Sean Connery and Michael Caine in this rousing Rudyard Kipling adventure set in 1800s India. Huston masterfully balances the fun of male camaraderie with constant imminent danger as the two soldiers attempt to dupe a remote village of their gold by passing off Connery as a god, and in the process produces a Kipling adventure to rival "Gunga Din". Widescreen

Huston co-wrote this gritty and trend-setting drama about a gang of small-time crooks who plan and execute the "perfect crime". This is the grand daddy of caper films executed with a firm expert hand that unflinchingly guides the raw performances (including Marilyn Monroe in her first role) of these dark and ill-fated characters.

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Harsh Times

By BrianOrndorf

November 10th, 2006

The scent of peril and brotherhood is in the air in the lukewarm “Harsh Times.” If you can stomach Christian Bale attempting to act like a Mexican gangbanger, there’s a nice mix of “Training Day” leftovers to sift through in this frustratingly uneven, but still quite vivid motion picture.


Jim (Christian Bale) is an Iraq War vet unable to find the employment with the LAPD that was promised when he returned home. Angry and bitter, Jim hooks up with his friend Mike (Freddy Rodriguez), another vet bullied by his overbearing girlfriend (Eva Longoria), to find a job. Suited up, and with the whole day to play with, Jim and Mike head out on the streets, soon getting caught up in drug and weapon deals, job interviews, and assorted border havoc that keeps them from focusing in on their plans for friendship and the future.

Writer David Ayer found tremendous critical and box office success with his script for “Training Day.” The gritty tale of corruption and ludicrous street justice put Ayer on the Hollywood map, so it’s hard to blame the guy for trying to recreate the same magic in his directorial debut, “Harsh Times.”

“Times” beats the same streets as “Training.” Ayer knows the topography of Los Angeles like the back of his hand, and almost casually takes Jim and Mike on a tour of the criminal underbelly of the hellish city. “Times” glides effortlessly when it settles down to observe the slacker day of danger these two ex-soldiers are engaged in, throwing away their shot at employability in an effort to maintain a bond that is being erased by adulthood and responsibility.

Things turn ugly not only quickly, but constantly for Jim and Mike, and Ayer dreams up a consistent run of back alley mischief for the duo to navigate. The performances from Rodriguez and Bale help to nudge the tension, fear, and paranoia; that is, if you can swallow Bale as a slang-throwin’, wannabe Mexican gangster. An incredibly versatile actor, Bale meets his performance limits with Jim, though the actor does achieve the necessary aggression and horror the character is defined by.

Ayer has leanings in the opening of the picture to explore Jim and Mike’s troubles finding their psychological center after their tours in Iraq. Jim is consumed by the violence he inflicted during his time in the military, but all we get of this emotional crevasse are fleeting glimpses of his nightmares. Ayer bookends the picture with Jim’s psychotic outbursts, and since the effort wasn’t made to layer this extreme behavior throughout the picture, it renders this crucial character point moot. Jim’s rage is so unattended by Ayer, the scenes slip into a feeling of screenplay mechanics, counteracting the slack, free-form appeal of the film.

“Harsh Times” certainly wins points for being a vivid evocation of Los Angeles criminal life; I only wish Ayer had stuck with the almost improvisational feeling of the film’s midsection for the whole shebang. Only there does the claustrophobic threat come to life in ways Ayer is truly gifted at creating

My rating: C+