The Changeling (1980)
★★★ / ★★★★
Initially, I thought this was going to be a ghost story like the truly horrific “The Shining” (which I was excited for), but toward the end it ended up being more like “The Ring” (which I wasn’t as excited for). Directed by Peter Medak, “The Changeling” was about a man who loves to play the piano (George C. Scott) and his grief for losing his wife and daughter. After about four months of their death, with the help of a friend (Trish Van Devere), he decided to move in to a creepy historical mansion to work on his music and to move on from the tragedy. However, the house would not let him work or heal because it would make strange noises, play the piano when he left the room, open the door ever so slowly as he composed music, and throw his daughter’s ball down the stairs… even after he seemingly got rid of it. Those truly scary moments (aided by a haunting soundtrack) made this film worth watching. However, I did not enjoy the last third as much because it reminded me of “The Ring” (even though I enjoyed that movie). Granted, this was made first but the whole well being buried under a house was too much of a distraction for me so it definitely took me out of the experience. If I were to pick a favorite scene in this picture, it would hands down has to be the séance scene when Scott, the medium, and others finally made contact with the ghost. It was done in such a scary manner which reminded me of the exorcism scene in “The Exorcist.” I tried not to blink in fear that if I closed my eyes, something would suddenly appear in a dark corner in the living room (I saw the movie with all the lights out). I’ve heard all too often that this is not known by many, especially my generation. I think it definitely deserves to be seen, especially the fans of horror films, because it was able to generate genuine scares without sacrificing the story. This is a very good haunted house picture that could have been as good as “The Shining” if it had been longer (perhaps a tour of the deeply atmospheric house?) and the whole bit about the well was eliminated. But then again I’m just being picky about the difference between “good” and “great” (to warn those who are expecting “The Shining”-level filmmaking). Don’t get me wrong, this is still a must-see.
★★★★ / ★★★★
The best thing about this movie was its intensity. From start to finish my heart was racing like crazy because I knew that something bad was always bound to happen. Liam Neeson stars as an ex-CIA agent father who embarks on a mission in Paris to rescue his daughter (Maggie Grace) from the hands of slave traders. I can see why this became a sleeper hit: it had a lot of genuine thrills, exciting action sequences, and a plot that was easy to understand. Aside from the obvious rescue mission, this was a story of revenge in its purest form, supported by the fact that Neeson’s character did not take any prisoner. This was essentially a very “guy” movie because the lead character had a one-track mind and would do anything–even hurt innocents–to get to his daughter. I’ve heard a lot of complaints from audiences that it did not make any sense that a “regular guy” suddenly turned into a Jason Bourne (from the “Bourne” series). I am happy to say that those people simply did not pay attention because in the exposition of the picture, it was discussed that Neeson’s character was once a part of the CIA. I feel that this criticism needs to be addressed because, as a person who waited to see this film on DVD, such comments implanted a seed in my head that the movie was going to be unbelievably atrocious. It was far from ridiculous because active agents who go on assassination missions do exist and, as we very well know (unless one is so deluded or lives in a bubble), slave trade exists as well. Lastly, I have to commend Neeson for essentially carrying this entire movie. Not only was I convinced that he was a dangerous man, but I was convinced that he was a father who really loved his daughter more than anybody in the world, including himself, even if his gestures were not quite appreciated given the amount of thought and effort that was put into them. (He’s very detailed-oriented.) Directed by Pierre Morel, “Taken” is a must-see movie for fans of secret agent films and those who love great suspense mixed with good action sequences.
The Sting (1973)
★★★★ / ★★★★
I’ve heard a lot of great things about this film back when I was not yet in love with the cinema but never actually tried to search for it. I recently got around to watching this picture because I was in the mood for a classic story about American con men. What I loved about “The Sting” is the partnership between Paul Newman and Robert Redford. Each of them brought something to the table that the other one lacked, so having them together on screen was a joy to watch. I’ve seen a few of Redford’s more modern movies but none of them comes close to his performance here. In the beginning of the film, I thought he looks like a man who’s just in it for the money (and maybe a little bit of revenge) but as the film unfolded, among the chicanery and greed, he surprised me. He played the character with such honesty and introspection to the point where I realized the real reason why he does the things he does. Even though he cons other people, he feels remorse and is aware that he’s just like anybody else: capable of loneliness and hoping for a break from it all. As for Newman, I haven’t seen him in a lot of movies but this convinced me that I should. Behind those bright blue eyes, I found a certain connection–a sort of power–that is hard to come by in modern cinema. I must also commend the director, George Roy Hill, for the excellent pacing and the way he told the story. Yes, the 1930’s look of the film is magnificient–from the shiny vintage cars, exquisite clothes, colorful buildings up to the certain dialects the characters used–but without that feeling of wide-eyed excitement, all of those elements would’ve gone to waste. I thought this picture had a nice balance between thrill and comedy. Even though it’s comedic 80% of the time, that 20% of darkness peeks at the audience from time to time and that’s when I really I got involved. I wish the movie explored that darkness a bit more because it reminded me of modern gangster films’ certain styles and attitude. On top of all that, “The Sting” has a handful of twists and double-crossing that I didn’t see coming. This is a must-see.