quixoboy

...That's probably because my first-ever viewing of "Apocalypse Now" was in its "Redux" version - featuring around 40 minutes of additional footage that, in the 3-hour-plus product, apparently formed the crux of what was ORIGINALLY envisioned.

Oh, well. I buy it. Contrary to what most others thought, I didn't have a problem with the film's somewhat bloated running length - though I shouldn't really be able to judge, as I have never, ever seen the film before. Fans of the original tend to side with it, and dismiss THIS 2001 re-release as a cheap marketing gimmick (which most re-releases usually are). Nevertheless, I wasn't too bothered by its epic pace; this masterful Vietnam war picture had an impact that resonated with me all the more strongly BECAUSE of its longevity. The next week I ended up viewing the tighter, original 1979 version - and, while still obviously good, I found I somewhat preferred the newer version, for its fascinating additions that lent new depth and meaning to its images.

This is a terrific, and shockingly realistic drama, showcasing unbelievable performances from an all-star cast backed by a legendary director. Obviously enough has been said about the infamous ordeal that countless cast and crew members went through to make it on location. The result was well worth it, and provides an insightful, thoroughly enjoyable window into the hellish, surreal world of the Vietnam war.

I was really in love with this film (no pun intended) by the time end credits were rolling - but after they were interrupted by that fabulous telephone conversation scene with David Hyde Pierce and Sarah Paulson, I was purely delighted...and then came the wonderful "Here's to Love" music video with none other than the effervescent two leads singing and dancing up a storm in a jazzy setting! What terrific fun! I remember first catching the trailer of this film late one night and it surprised me to feel that after it finished, I wanted desperately to see that film right away! Unfortunately, by the time it was released, I couldn't get in a good time to see it, which was a tragedy - especially considering the short time it was out for.

Looking at the financial success of the film, I wasn't all that surprised that "Down with Love" turned out to be a less-than-spectacular release in terms of moviegoers and publicity. I didn't expect many mainstream audiences to warmly accept an unconventional spin on fluffy 1960's romantic comedies - not to mention one starring a cast of pretty well-known and successful actors, which could have translated to awkward placement in such a different setting of fantastically fake-looking sets and stock footage...but lo and behold, "Down with Love" turned out to be a great, great film! I cannot express my fondness and praise for this film any better. It was a good thing I came into it expecting something very over-stylized, corny, and unintentionally amusing (which is generally the case with those actual types of films from the era). Oozing with unbeatable charm and camp, this is a winning little overlooked gem.

"Down with Love" showcases the aforementioned colourful, cheesy sets (except this time with a slightly hyperkinetic, 21st-century feel to them); irresistible performances from every cast member, especially Zellweger and MacGregor (who is continuing to be one of my favourite actors following his magnificent work in "Moulin Rouge!", the "Star Wars" films, etc.); classy, show-stopping music and songs, and an overall energetic pacing with story and comic timing. I was very touched by the nice story, and its wrap-up was nothing short of beautiful. I happen to really like these kinds of films, and elsewhere I have mentioned before that I am an unabashed sucker for that type of schmaltz and melodramatic undertones. It is a wonderfully positive film, though, with impressive digs at the styles, fashion, etc. of the time period. Up with "Down with Love", I say!

Nah! I finally saw this film in its entirety - and I've got to say to all the haters: for those of you who thought it was boring; for those of you who thought it was jumbled, incoherent, and uneventful...you must realize that IT'S SUPPOSED TO BE MADE LIKE THAT!! Any other way of constructing the story and the individual sequences would have, at the very least, watered down the fright factor a bit.

I must say I was surprised by how genuinely creeped out I was at times when viewing this film - mostly due to the glaring lack of clichéd musical cues and ambient noise. I felt that was the absolute strongest aspect of "The Blair Witch Project", a raw, unpleasant journey into the woods captured on film by three young "filmmakers" who somehow "disappeared" as their "documentary" was being shot. Losing the map, fighting amongst companions, the discovery of random odd signs in the woods - most notably the film's trademark stick symbols - and more all serve to heighten the unbelievable realism of this infamous voyeuristic drama. I feel it deserves its cult status as one of the greatest and most original horror films ever made. It's obvious why many people saw such potential for imitation and mockery (mostly just for that signature "I'm so scared" teary-eyed Heather close-up). "The Blair Witch Project", however, cannot be called such a disaster. It's certainly a unique viewing experience, and for that I must commend it for its approach, and its lasting legacy.