xander34

Reviewing Alfred Hitchcock's famed black and white opus Psycho from a 21st century perspective gives the film less credit than it deserves. For it's time, it was revolutionary. Now, it is just a well acted, yet somewhat dated horror film. The editing in the shower scene has become a cliché in pop culture, but one cannot deny the original brilliance of the scene. The movie really only works as well as it does because of the performances of Janet Leigh and Anthony Perkins. Perkins never really had another role he was better in, save Mike Nichols' Catch-22, a personal favorite. After Hitchcock died, he later starred and directed in numerous Psycho sequels before Perkins' eventual death. Hitchcock's killing of Leigh at the onset is also quite ground-breaking. It was mirrored in Wes Craven's Scream with the Drew Barrymore character, as well as in many other pictures.

Psycho also created the character of Dr. Sam Loomis, a name later used in the other revolutionary horror film, John Carpenter's Halloween. Overall, the movie doesn't age as horrible as some other select black and white 50's-60's horror films, but nevertheless it does age a reasonable amount, leading to many cringe worthy and laughable scenes, most likely due lackluster performances by the rest of the cast, low production values, and shady effects and "skeletons."

The Darjeeling Limited is unlike the average comedy. While not being truly laugh out loud funny, the film is clever, well written, with memorable characters and one liners that grow wittier over time. The only type of movie it can be compared to are other films by Wes Anderson, the director of Rushmore, The Royal Tenenbaums, and the love it or hate film, The Life Aquatic With Steve Zissou. All of his movies are extremely stylized, with slow motion sequences, wide lenses that slightly distort the frame, and privileged, depressed characters with family issues all thrown together in a slightly artificial, timeless, carefully detailed environment. While with The Life Aquatic he may have tried to do too much, The Darjeeling Limited shows Anderson finally perfected his style. He knows when to throw inside jokes to his most loyal of fans, while keeping his stories fresh and personal, without acknowledging the critics who blame Anderson for repeating himself.

The film is absolutely engaging from the very start with a hilarious, memorable cameo by Bill Murray, trying to catch the Darjeeling Limited train in slow motion, yet is outrun by Adrien Brody's Peter to the tune of The Kinks' This Time Tomorrow, one of the three Kinks songs in the film (all are accompanied by slow motion sequences). Brody, Jason Schwartzman, and Owen Wilson play the three Whitman brothers, Peter, Jack, and Francis. Wilson's character has organized a spiritual journey through India with his brothers who have not spoken to one other since their father's funeral a year ago. Performance-wise, the standout is Wilson, in what might be his best role yet. Owen Wilson seems to play himself in all of his other movies, with Wes Anderson being the only writer/director to truly know how to use his talents. The characters begin to realize that one cannot force a spiritual journey, no matter how many temples visited and organized rituals performed for brotherly bonding as printed on a laminated itinerary. The bender that results is a ridiculously entertaining blend of comedy and drama successfully aided by Anderson's great choice of music and colorful, dynamic cinematography.

Extremely recommended viewing (other than Anderson's previous efforts) before watching this amazing film is Hotel Chevalier, a 13 minute short film directed by Anderson and starring Jason Schwartzman, available for free download online through Itunes. In the film, Schwartzman plays the same character that he plays in The Darjeeling Limited. Also starring is Natalie Portman as Jack's ex-girlfriend, who makes a brief cameo in the feature film as well. The short film helps establish Schwartzman's character, and provides clues on certain details of The Darjeeling Limited. Also, a couple of funny moments in the feature wouldn't make much sense without seeing the short. The emotional, yet blissful experience that is The Darjeeling Limited is Wes Anderson's best film thus far, defeating Rushmore for that top spot.

Less than a year after the previous installment of the popular pirates trilogy, Jack Sparrow and company return in Pirates of the Caribbean: At World's End. The film should be great, given a three hundred million dollar budget, huge anticipation, and the closure a third installment inevitably brings to a series. While this film does show its budget and is quite visually arresting, it lacks a fair share of resolution to the trilogy and confuses with its overflowing exposition rather than purely existing to entertain.

Even in an action packed pirate movie, overly chatty sequences will simply bore audiences just because it's too hard to follow what exactly is being said. The movie really just had too many vague or unnecessary plot points that didn't affect the main plot at hand.

All the acting was perfectly fine, with Johnny Depp as Captain Jack Sparrow and Geoffrey Rush as Captain Barbosa unsurprisingly being the standouts. The introduction of Depp's character in the pirate equivalent of Hell called Davy Jones' Locker is a particular favorite, as well as the scenes at World's End, which somehow involves a giant, deep waterfall. Keith Richards' hyped cameo as Jack's father is nothing to go crazy for, he does a decent job, but his screen time lasts only about two minutes.

Director Gore Verbinski and his crew knew going into this that the reviews would be mixed and the plot would be confusing (in order to encourage repeat viewings), but honestly, at nearly three hours, the more the film confuses you the more it becomes an endurance test. Also, rather than providing a satisfying conclusion to the series, the end opens up the possibility for a fourth installment, which might not even happen. The crew put every penny of the film's budget on screen, made evident in the hour or so of its bloated climax. The film looks and feels like a true epic, shots are wide, locations are vast, costumes are extravagant, and the scope is large. However, the film needs to scale down its plot in order to let the characters we fell in love with stand out and shine, as that's what makes these films unique.