#crime genre

[stackofsnakes]

The trope "amazing detective, damaged person", is so pervasive in the crime genre, it's hard to think of fictional detectives any other way. Monk might take the crown here. Sherlock Holmes is an addict, Bones' parents disappeared when she was a child, Kate Beckett's mom was murdered, Jessica Jones, at least in the Netflix series, was enslaved by Kilgrave, Sam Vimes is an ex-alcooholic, Batman lost his parents, half the cast of Criminal Minds are fighting with serious personal histories or get put through seriously traumatizing situations over the course of the show, Harry du Bois is in the midst of unravelling as a result of a traumatic break-up and a long struggle with alcohol and drugs.

It's a trope that happens especially often in more contemporary crime media and with detectives with some sort of gimmick or genius abilities.

In comes Shawn Spencer, whose tragic backstory is a shitty relationship with his dad.

[akhenaten-art]

Lesnie Rox

From the world of Hellbent.

Lesnie Rox is perhaps the most famous adult film star in the city of Miami. Along with the glitz and glamor of the industry comes a seedy underbelly and it is known that she has connections to the criminal underworld. Rox has been known to pal around with notable underworld figures like The Gator as well as the South Beach Crew, though the exact nature of their connection isn’t known.

Meta: Tried drawing from a different angle with this one. Trying to get better at foreshortening and damn it ain’t easy.

05/11/2024

[tinyreviews]

Writing Tips: Heroic Crime Genres

1. Western Approach:

Setting: Lawless society.

Hero: Typically works alone.

Mission: Imposes order in the absence of any system.

Examples: "Unforgiven" (1992), "The Magnificent Seven" (1960)

2. Eastern Approach:

Setting: Lawful but corrupt society.

Hero: Operates from within the system.

Mission: Maintains order while overcoming corrupt individuals within the system.

Examples: "Serpico" (1973), "L.A. Confidential" (1997)

3. Northern Approach:

Setting: Lawful and incorrupt society.

Hero: Operates from within the system.

Mission: Maintains order against threats from outside of the system.

Examples: "The Dark Knight" (2008), "The Untouchables" (1987), most modern superhero movies are good examples.

4. Southern Approach:

Setting: Corrupt society.

Hero: Operates from outside of the system.

Mission: Imposes order to a corrupt system.

Examples: "RoboCop" (1987), "V for Vendetta" (2005)

This is part of my Writing Tips series. Everyday I publish a writing tip to this blog.

[cinephilesadeqi]

Movie Analysis and Review: "Dog Day Afternoon" (1975)

Introduction:“Dog Day Afternoon” presents a gripping narrative of a botched bank robbery that escalates into a day-long hostage situation, unveiling the complexities of its characters amidst a media frenzy and FBI intervention. Synopsis:In the sweltering summer of 1972, inexperienced criminal Sonny Wortzik (Al Pacino) orchestrates a bank heist in Brooklyn with his accomplice Sal Naturile (John…

[365days365movies]

31 (Films) to Life: End of Year Round-Up I

Well, here we are: the start of another year of movies!

Geez, 2022 was interesting. Changed up the format from doing daily films and monthly genres, and focused mostly on films in one genre: crime. Aimed for 31 films, and out of that goal hit...24. Which, honestly, not too shabby. Didn't get as many reviews out as intended, but that is honestly OK. Was a busy-as-hell year for me, so I'm pretty well satisfied.

So, what did I see last year, exactly? Well, this post is about to be a round-up, which includes the films I wrote about, and the ones I didn't get the chance to. And at the end, I'll get into my plans for 2023. So, before I hit the "Keep Reading" button, here's the full list of crime films I saw in 2022.

M (1931); directed by Fritz Lang

The Maltese Falcon (1941); directed by John Huston

The Third Man (1949); directed by Carol Reed

Rashomon (1950); directed by Akira Kurosawa

The Killing (1956); directed by Stanley Kubrick

Cool Hand Luke (1967); directed by Stuart Rosenberg

The Italian Job (1969); directed by Peter Collinson

The Godfather (1972); directed by Francis Ford Coppola

Chinatown (1974); directed by Roman Polanski)

Dog Day Afternoon (1975); directed by Sidney Lumet

Taxi Driver (1976); directed by Martin Scorcese

Scarface (1983); directed by Brian de Palma

Once Upon a Time in America (1984); directed by Martin Scorcese

Thelma and Louise (1991); directed by Ridley Scott

Reservoir Dogs (1992); directed by Quentin Tarantino

Casino (1995); directed by Martin Scorcese

Heat (1995); directed by Michael Mann

The Usual Suspects (1995); directed by Bryan Singer

L.A. Confidential (1997); directed by Curtis Hanson

American Psycho (2000); directed by Mary Harron

Catch Me if You Can (2002); directed by Stephen Spielberg

Monster (2003); directed by Patty Jenkins

The Departed (2006); directed by Martin Scorcese

Zodiac (2007); directed by David Fincher

And there you have it! Now, this upcoming short set of summaries (behind the Keep Reading wall) may be a little too long for one post, so we'll split it up a little bit. But in any case, let's get this started!

M (1931), dir. Fritz Lang - 92%

This one, you can check out my full recap and essay about if you're curious, but here's the summary: I loved this movie. Lorre's brilliant as the titular killer, the simple story is well-constructed and effective, the ending is beautiful, and the film as a whole is so impactful. Direction and shot composition is top-notch, the sound and music usage is genuinely revolutionary (having essentially invented the leitmotif), and while it's not the most iconic-looking film, it's still brilliant. PLEASE check this movie out if you haven't already.

The Maltese Falcon (1941), dir. John Huston - 92%

Holy shit, I forgot I tried writing that whole review in noir-speak. Anyway, here's another classic film that I really like! Haven't seen many noir films, especially prior to this year, but this was a great one to start with. Definitely the prototypical noir detective movie, complete with Bogart's private eye, Astor's dangerous love interest, and the twists and turns that come with the genre. Beautifully shot, excellent plot and writing, wonderful music, and great acting. No complaints; check this one out.

The Third Man (1949); dir. Carol Reed - 96%

Holy shit, this movie! Absolutely my favorite Orson Welles performance, and that very much includes Citizen Kane. He's extremely good in this movie, which is a sort of non-traditional noir in a number of ways. The cast is perfect, from Cotten to Valli to Howard to Welles (especially the last one). Plot is perfect, and contains more twists than I know what to do with. Directing is great, if a little overly-tilted at times. Production and art design is beautiful. Music is...a lot of zither music. It's...it's a LOT of zither music. As I'm typing this, the score is BACK IN MY HEAD, and I haven't seen this film in 10 months. Let that shit sink in. And yeah, watch this movie, ASAP, please. You won't regret it, I promise you that.

Rashomon (1950); dir. Akira Kurosawa - 100%

It's a perfect movie. A trope-maker, and revolutionary film in its own right, this movie...dear shit, this fuckin' movie. No words. Nothing needed. Just trust me when I say watch this film immediately. It's stellar. Man, I hit a lot of bangers early on this year.

The Killing (1956); dir. Stanley Kubrick - 90%

First of all, before anything else...fuck Sherry. And secondly, this movie is a great one, too. Still have more Kubrick movies to watch, but this one was absolutely worth it. Nail-biting and anxiety-inducing, yes, but also with one of the strongest plots I've seen thus far this year. A fantastic heist movie, it's only real weak points are a kinda normal production and art design, and sorta forgettable music. Other than that, it's an amazing film that people don't talk about. And, honestly, they really should. Check this one out if you're into heist movies and classic films!

Cool Hand Luke (1967); dir. Stuart Rosenberg - 90%

First one of these I didn't post a review on! And honestly...yeah, I'm OK with that. This Paul Newman vehicle is complicated to describe. On one hand, it's an interesting character study full of interesting characters. Newman's Luke is a great example of a rebellious character forced to face consequences for his actions, only to revert to his original nature, Frog and the Scorpion style. It's technically a trope-originator in that way, or at least a major trope-definer. And with a number of interesting supporting characters, especially George Kennedy's Dragline and Struther Martin's Captain, this is a surprisingly memorable movie...in some ways.

But it also...isn't that memorable? Don't get me wrong, there are a number of moments that come to mind in my head, as well as some shots and compositions that are great (the sunglasses of the Captain come to mind immediately), but it's also not exactly Lawrence of Arabia. Rosenberg and Hall are fantastic as director and cinematographer, for sure, but not always the most memorable and iconic. Also...there's the car wash scene. Like, I get the point of that scene, but it definitely cuts through the tone in a way that puts a weird taste in my mouth. Is it an effective scene for what it's trying to do? Um...yeah. Very, very much so. Possibly TOO much, in fact. And I realize that this is a huge nitpick that shouldn't make me give points off for editing, but it speaks to a weirdly inconsistent tone in some places. That scene isn't the only example of that, is all I'm saying. Still, excellent film, check it out if you're into prison movies.

The Italian Job (1969); dir. Peter Collinson - 92%

Holy shit, this movie is fun! I genuinely love this film so much, even if it has its flaws here and there. Other than being a movie that was absolutely made at the cusp of the 1970s, it's one of the most British heist films I've ever seen. And that's not a bad thing in the slightest, believe me. But, it may be an acquired taste for some. But that said, here are the main things to know. This is a British heist film that stars Michael Caine and features a lot of car tricks, as well as one of the most iconic film endings of all time. And that about covers it. Michael Caine is the most Michael Caine you'll ever see him, and if you ever wondered why he was cast as Austin Powers' father in Goldmember, this movie will make you understand why. Supporting cast is also very good, but everyone takes a passenger seat to the car stunts, which are some of the best care stunts I've ever seen on film. If you want Ocean's Eleven with cars, this is the movie for you. Love this one.

The Godfather (1972); dir. F. F. Coppola - 100%

Cliché? Absolutely. The obvious choice to praise universally? For sure. The most mainstream, boring, dull, basic bitch film I could possibly like? Yeah. Yeah. BUT I DON'T GIVE A SHIT, BECAUSE IT'S FLAWLESS. Even if I didn't think this movie was essentially perfect, there isn't really anything I can say was wrong with this movie, in my inexperienced opinion. Cast and acting? Perfect. Plot and writing? Twisted and perfect. Direction? Iconic and perfect. Production design? Immersive and perfect. Music and editing? I CAN HEAR THE THEME SONG RIGHT FUCKING NOW, THIS MOVIE IS PERFECT. And you gotta understand, I put off watching this movie for YEARS because I thought it was gonna be boring. And then, I watched it. And post watching it? It's amazing. Watch. This. Movie. NOW.

Chinatown (1974); dir. Roman Polanski - 96%

...I saw a lot of good movies this year, OK? Look, this is also an excellent film, despite its reprehensible director. Just divorce the art from the artist and all that, and go into this movie completely blind if you haven't seen it. Taking it from me, it's essentially perfect. Only issues I had were that the Production Design wasn't particularly distinctive, and the music was mostly forgettable after the fact. And those were nitpicks. Watch this movie!

Dog Day Afternoon (1975); dir. Sidney Lumet - 90%

Did...did I watch a bad movie this year? I mean...yeah, I did. Black Adam sucked. And, like...Violent Night was...well, no, I liked Violent Night. Ooh, I was forced to watch Minions 2: The Rise of Gru, which was mediocre at best! I...OK, OK, look, you've heard this before at this point, but...watch this movie, OK? Another heist film, based on a true story this time, as well as being a benchmark in LGBTQ film representation, this film is a great one. Maybe I didn't like an acting performance, maybe the plot wasn't perfectly accurate to real life, maybe the cinematography wasn't always iconic, and maybe it could've used literally any music...but it's a great movie. Watch it.

Taxi Driver (1976); dir. Martin Scorcese - 90%

The "good movie" train keeps chugging forward with this one, because yeah...Taxi Driver is also fantastic. Truly one of the best character dissections I've ever seen, as well as a fascinating look at one of the most dangerous and crime-ridden environments in American history, Scorcese makes a really morally complicated film with...well, frankly, troubling consequences and implications. I didn't put out a review on this one (sorry, got stuck in the wasteland that is my Drafts page), but this film was partially responsible for Reagan getting shot, fun fact. And that may be because the shooter partially identified with Travis Bickle, who is a troubled and fascinating character. And for the record, the rest of this is fantastic as well, but De Niro's Bickle and Scorcese's NYC are the most prominent and most important parts of this movie. Love this one, too. Watch this film if you like character dissections!

Scarface (1983); dir. Brian de Palma - 90%

OK, so...is this the most stereotypical college-age dumb jock poster-in-the-dorm-room movie in the fucking world? Yeah. Yeah, it really is. But is it a great movie despite that? I mean...holy shit, yeah, it's a very good movie. Sure, Italian actor Al Pacino playing a Cuban immigrant is a weird casting choice that's aged poorly in today's sociopolitical landscape...but he's also really fucking good at it. Seriously. Over the top, absolutely, but an extremely enjoyable watch all the same. Watching him slide into depravity and chaos when he already started there is fascinating, and Pacino just EATS the movie with how hard he chews the scenery. Look...it's a fun fucking movie to watch, and that's not even talking about the iconic lines, the supporting cast, the well-structured plot and story, the iconic costumes, and every other enjoyable part of this ride of a movie. I resisted watching Scarface for a LONG time, because I associated it with college-age fuckbois, but...shit, it's a good movie. Watch it if you haven't seen it.

OK, lemme pause here. Part Two coming next!

[liliewriter]

hi! i'm looking for more writeblrs who dabble in the crime genre, especially written from the criminal's pov! i'd love to make some more writer friends who write in this genre as my main wip is a crime novel from the pov of the criminal.

i'm also in the process of making a post for that wip to introduce it properly, so that'll be here soon!

please interact!<3

[desdasiwrites]

– Tiffany McDaniel, On the Savage Side

[detectivejay]

It's been a little while since I've made a poll, so I'm going to shake off the dust with a simpler question (although choosing an answer to this one is probably anything but simple for mystery fans.)

This is mostly oriented towards live action mystery/crime TV series, I'll probably do a later poll for animated shows or anime.

I can't possibly fit every series worth a shoutout in the 12 options Tumblr allows per poll, so please let me know your favorites in the tags and comments if it's not listed here. :)

Please reblog for a larger sample size, thank you!

[rythyme]

ok imagine 10 things i hate about you. now imagine 10 things i hate about you, but gay. now imagine that kat and bianca are assassins who kill corrupt politicians and businessmen. now imagine that this is real. many good and wonderful things are possible in this world if you watch thai dramas.

[pirateyang]

a comparative analysis of shows in my favorite genre: the girls are stranded!!

[stackofsnakes]

Early Columbo is amazing; you experience the story exclusively through the eyes of the murderer. Shifting the narrative perspective that way allows for a wildly different story; the dichotomy between the hunter and the hunted. It does away with the "who did it", question, instead revealing bit by bit Columbos process. We get to see directly how the murderers meticulous scheme crumbles, as Columbo encircles his poor victim, slowly, carefully, until he eroded his targets confidence to the point where they make a fatal mistake, inadvertently revealing themselves.

There's a certain satisfaction to see these murderers, so high and mighty, guide Columbo through their narrative of things just to discover it was them who have been lead, to see arrogance turn into doubt.

[thermodynamic-comedian]

actually i love it when the characters are all lying. i love it when they all have secrets and none of them trust each other. i love being given clues that solve puzzles i haven't even been presented with yet. i also love it when i get chills watching a scene without even knowing what it means, and when i do know what it means, i get even more chills. i love theorizing and thinking and solving and coming up with possibilities of where a story might be going. i love it and i will do it for free, for fun, for no real reason.

this is a mystery appreciation post!! if you appreciate mysteries and secrets and stories that slowly unravel before you, please interact!!!

[junipum]

s5e16 house takes methadone, it cures his pain completely, and when cuddy says he can’t take it at her hospital, he basically quits without a second thought. he's fully choosing a painless life over one that he's comfortable with and knows inside out, despite the recurring issue with him and change, be it positive or negative. whether this is destructive behavior, or if it's truly what he's willing to give up is your interpretation, but either way, he's choosing being pain free over anything else in his life, as he's done time and time again.

he will literally try ANYTHING to feel physically okay because he's so accustomed to living in constant agony. he's done extremely dangerous things to stop, delay, or even mildly treat it (experimental drugs, faking cancer for meds, life threatening treatments, etc). in the scene on the coma bus with amber, though its a hallucination, he has to rely on his own guilt/subconscious to pull him away from the choice of life or death. he's more than tempted to give up and accept death right then and there, because it "doesn't hurt here," and because he believes wilson will hate him if he comes out of it alive.

and THEN, you have the C word. when he willingly gives up the last of his vicodin to help wilson feel better. because as much pain as he himself is in, he doesn't want wilson to ever experience anything similar, and if he can even help just a little bit, it will be worth it. he couldn't give up pain relief for anybody in his life except for wilson. cuddy and stacy, two women i do believe he loved, were not enough for him to give that up. not his job, not his intellect, and not his pain relief. but for wilson? barely a second of hesitation. he can throw away his vicodin, his physical health, and entire being away if it means he can be with wilson, in any capacity and as unhinged as they are.

[daisywords]

anyway my stance on "reading the classics" basically boils down to the fact that what is or is not defined as "a classic" is somewhat arbitrary, and therefore it makes no sense to treat "the classics" as some sort of uniform genre that you either like or dislike. Whether you liked Great Expectations has no bearing on whether you'll like 1984 or Rebecca or Pride and Prejudice or East of Eden or Frankenstein or Crime and Punishment. Because those are all vastly different books. "I don't want to read Classics; they're all boring and probably sexist or something." <<free yourself from the arbitrary category of "classic." It just means a lot of people liked the book. You might not. but you might. Treat it as an individual title.

[365days365movies]

31 (Films) to Life: End of Year Round-Up II

Before I wrap up last year and begin anew, here's the rest of the round up of the crime films I saw in 2022! Here's the first part of this post if you want a catch-up. These post is gonna cover these films:

Once Upon a Time in America (1984); directed by Martin Scorcese

Thelma and Louise (1991); directed by Ridley Scott

Reservoir Dogs (1992); directed by Quentin Tarantino

Casino (1995); directed by Martin Scorcese

Heat (1995); directed by Michael Mann

The Usual Suspects (1995); directed by Bryan Singer

L.A. Confidential (1997); directed by Curtis Hanson

American Psycho (2000); directed by Mary Harron

Catch Me if You Can (2002); directed by Stephen Spielberg

Monster (2003); directed by Patty Jenkins

The Departed (2006); directed by Martin Scorcese

Zodiac (2007); directed by David Fincher

OK, let's jump back into this recap!

Goncharov (1973); dir. Martin Scorsese - 82%

Look, I realize that this, as a recently recovered film, this has gotten a sort of cult-following, as it were. But after finally getting ahold of a copy of it and watching it, I dunno...seems somewhat overrated to me? Sure, Scorsese's choice to focus on Italy during the end of the Cold War is an interesting premise, and the cast is genuinely excellent, but...again, I thought it was only OK compared to some of the other movies on this list. Although, I will say, John Cazale was a stand-out character for me, in sort of a spiritual successor to his role in Dog Day Afternoon, playing the unhinged assassin with a very complex backstory. I read somewhere that there was a planned spin-off for Ice Pick Joe at some point, and I would love to know more about that. Plus, Scorsese's choice to follow up on Midnight Cowboy and Dog Day Afternoon by injecting homoerotic tones, especially in a film from this time period, was...

...Yeah, I'm WAY too late to hop on this meme. I'll stop now. It's a very funny meme, though. Love the fact that Scorsese himself admitted to making it; that's shit's hilarious. Anyway, on to the actual list.

Once Upon a Time in America (1984); dir. Martin Scorsese - 94%

This is a complicated movie to describe and to recap, and I actually never posted the last part of my review for this one, but...man. This is an excellent movie. Granted, exactly what you'd expect when I say it's a Martin Scorsese-directed period piece set in NYC and starring Robert de Niro...but, it still manages to surprise here and there. A couple of these surprises are, in my opinion, a tiny piece contrived, and it also manages to make its main character thoroughly unlikable in many ways, but it's still a great story with a lot of character packed in a...3 hour and 50 minute runtime, JESUS CHRIST. OK, yeah, this is a really long movie, but it's also hard to see a good place to trim it without harming the story and character work as a whole.

In terms of my normal breakdown, acting is nearly perfect all around; plot is convoluted and takes place in multiple time periods, but is still very good; directing and cinematography is beautiful; production and art design is perfectly immersive throughout all time periods represented; and if I hear pan-pipe music one more time I'M GONNA FUCKING LOSE IT. But the editing is still solid, despite an insane runtime. Look, if you're the kind of person who doesn't like uncomfortable moments in film or unlikely characters, or if you'd rather not strap in for a lot of atmosphere and silent character moments over the course of a nearly four-hour movie...maybe skip this. But otherwise, this movie is entirely worth it, and a genuine masterpiece. A must-watch for crime movie and Scorsese fans.

Thelma and Louise (1991); dir. Ridley Scott - 84%

A good Ridley Scott movie (and one that I only published half of my review for, whoops)! So, Thelma and Louise has a pretty good plot and acting, and does everything else pretty well. Plus, its titular relationship is compelling for a lot of reasons, whether or not you take it as romantic (which there are arguments for and against). As well as being a good source for an essay on justice within a patriarchal culture that has issues with female self-autonomy and sexual consent (yes, really, I'm not even reading into that super hard), it's an interesting movie. But if I'm gonna be honest, while I thought this was a good movie...it's not necessarily one I'd go out of my way to watch again, and I may turn away from it when it comes on TV. Y'know what I mean? Like, I'd tell people it's a good movie, but I wouldn't recommend it, necessarily. It's a good movie to watch at least once, though.

Reservoir Dogs (1992); dir. Quentin Tarantino - 89%

Reservoir Dogs, on the other hand, is a movie that I absolutely recommend. Now, is this a movie that, like Scarface, every college fuckboi in the world has seen, recommended, and quoted. I mean, yeah, absolutely. Is it gratuitously gory and violent? Again, yeah, absolutely it is. But it has a banger of a cast (Harvey Keitel, Steve Buscemi, Tim Roth, Michael Madsen, to name a few), fantastic plot and good writing, good direction and cinematography, good production and art design (simple as it is), great editing, and memorable music (for what little there is in this movie). There's a lot packed into this one, and there are narrative twists and turns you wouldn't necessarily expect, leading to one of the tensest endings I saw in a movie last year. And as much I would love to go into more details about this crime thriller...I won't. Go watch this one, trust me.

Casino (1995); dir. Martin Scorsese - 94%

So, this year, I made a huge mistake. I was in a hotel room for a conference, alone (much less sad than it sounds, believe me), and I decided to watch a movie that night. So, I sit down, look at my list of films, and realize the next one is the Scorsese classic film Casino. Now, I have a copy of this movie at home on DVD, but I find it on streaming, so I figure I may as well go for it. Here's the problem: it was on AMC. Now, at first blush, this doesn't seem like a problem. But it actually is a massive problem for Casino, more than any other movie I've ever seen, because the censoring for TV really distracts from the movie itself. Like...really badly, too. It was an issue.

Now, is this a good movie? Very much so. As Scorsese loves to do, it follows a gangster played by De Niro, during the time period where the Mafia was at its strongest influence in Las Vegas. His enforcer and best friend, played by Joe Pesci, joins him in the business. What follows is a multi-year story of death, lies, betrayal, talk shows, domestic abuse, and a LOT of crazy shit that you follow the entire time with baited breath. This is a 3 hour plus movie, and I remember more of it that I rightfully should. And yes, there are a LOT of F-bombs, all of which were covered by Joe Pesci's less-than-stellar dubbing over his own lines. When "fuck" comprises 40% of a character's dialogue, censoring tends to really hamper with immersion, just saying. But yes, this film has stellar acting from the leads and support, an interesting and engaging plot with curse-heavy writing, great direction and cinematography throughout, fantastic production design, and a good score with great editing. Definitely watch this one...uncensored. Trust me on that one.

Heat (1995); dir. Michael Mann - 90%

Well, shit, Al Pacino and Robert De Niro in a crime movie? And Pacino's playing a cop? Hell yes. It's also Pacino's last movie before he goes into overacting hell, and even then, he has a lot of scenery in his teeth and he is loving it. But even despite that, solid performances from our two leads, one of whom is playing to type, and the other against it, but both very well. It manages to mix multiple compelling stories, while maintaining the tension of a cat-and-mouse game, during which you're somehow always rooting for both sides to win. Direction is great, production design is simple but good, and the music is...fine. I actually don't remember it much, to tell the truth. But either way, a must-watch for any crime film fan. It's fantastic.

The Usual Suspects (1995); dir. Bryan Singer - 92%

As some of you may know by now, I'm a firm believer in divorcing the art from the artist. So, yes, even though this is a Kevin Spacey vehicle directed by Bryan Singer, I still really wanted to watch this one. And it's great. Absolutely fantastic, don't get me wrong...but I was kinda fucked from the start here. Without going into any details, this movie is about cops investigating a crime committed by the mysterious Keyser Soze, and uncovering who the culprits are. And that's it. That's all you're getting. Because there's a famous twist in this film, and I knew it from the jump, unfortunately for me. Definitely didn't ruin the movie, but not knowing the twist would've made it OH so much sweeter. So, that my word that it's a good movie, do not attempt to look it up anywhere for more info, and go check this one out.

L.A. Confidential (1997) - dir. Curtis Hanson - 90%

Another Spacey vehicle! And hot damn, is it a great one. I like the previous movie more for the plot, but L.A. Confidential is certainly no slouch when it comes to twists. Not the least predictable twist in the world, but still a notable twist. Again, excellent cast here (Crow, Pearce, Spacey, Basinger, DeVito, Cameron, etc.), great plot and writing as well, great direction and good cinematography, excellent production design, and great music, and this is another must-watch action movie, on par with Chinatown in tone, and Heat in quality. Also, a seminal buddy-cop movie...kinda.

American Psycho (2000); dir. Mary Harron - 82%

Fun fact about me: I'm a serial killer true crime junkie. Which, yes, makes me either a typical millennial or a middle-aged white mom with nothing to do all day, but sue me, I think it's an interesting topic. Anyway, because of that, I've always been interested in watching this movie, which not only pictures a very '80s sense of psychopathy that's still identifiable today ("sigma males", anyone), but actually inspired a real-life serial killer duo, Paul Bernardo and Karla Homolka, AKA Canada's most notorious murderers. Their favorite book was the original American Psycho, which was later adapted into this film. But that said, outside of the true-crime connection, I also liked this film as a character dissection of a man quickly going insane, as well as the exploration of a business shark capitalist drive and misogynist culture surrounding it as major causes and drivers of that mindset. And I'd say that was reading too much into it, but...it really isn't.

But that said, this movie is interesting to watch, but definitely not perfect. Acting, with Bale as an exception, is good but not great throughout. Plot and writing are good, if ham-fisted at times, and with an unexpected ending (and not in a great way). Direction is great, cinematography is pretty good, too. Production and art design is extremely solid, and maybe the strongest part of the movie. Music gives that a run for its money, though, since it's also a narrative device to better understand our lead. This is a good movie, and weirdly relevant with certain elements of our internet culture, so check this one out if you have the time. And if you're in the mood for a film whose bread and butter is toxic masculinity, but was also directed and written by women. Which is hilarious.

Catch Me if You Can (2002); dir. S. Spielberg - 88%

The concept of an auteur in terms of film directing is varied and storied, but is usually used to refer to an individual whose artistic vision is clear on the screen, making their films quite distinctive to the discerning viewer. And Jesus Christ, is this film an example of that for Stephen Spielberg, because I don't know if a crime film could Spielberg harder than this! What I mean by that is that Spielberg's style, while not often applied to the crime genre, is very apparent in his films. You usually know one when you see one, is what I'm saying.

That's to say nothing about quality, which is very good in the base of this film. The only real weak spot, for me, was the music of the film, which wasn't very distinctive outside of the opening credits theme. Everything else, though, is pretty great. DiCaprio and Hanks kill it, even though Hanks was admittedly still definitely Tom Hanks through the film. Plot and writing was a Spielberg plot, but a really good set of character dissections and interactions. Direction and cinematography are fantastic, Production and Art Design are TOP fucking notch, until we sort of fall off towards the end of the movie. And editing is great, even if music wasn't my favorite. Great movie, very much recommended if you want to see Spielberg do a crime film. And you should want that, ideally!

Monster (2003); dir. Patty Jenkins - 86%

Remember that thing I said earlier about being a fan of serial killers? Well, Monster and its focus on real-life murderer Aileen Wuornos was high on my list of must-sees at the very beginning of this project. Charlize Theron's performance as the character is pretty legendary, and for good reason, because she does an AMAZING job as Aileen. And Ricci's no slouch as her girlfriend Selby, either. Was it the most accurate movie in the world? No, but it was unexpectedly accurate in some ways as well. Wuornos is one of those figures who's kind of controversial, as some of her murders could have been self-defense, and the film's writer and director, Patty Jenkins (yes, that one) does realize that. And I started to be worried in the beginning of the film, but she turned me completely around by the end. It's great!

Direction, though, is...fine? It's not particularly distinctive, but it isn't bad. Same goes for the Cinematography. Production design is excellent, mostly because Charlize Theron BECOMES Aileen Wuornos, partially due to acting, but also absolutely due to appearance and wardrobe. It's genuinely very impressive the whole movie. And finally, music was there, and kinda weirdly clashing with tone in some instances, but it's not too bad. Check this one out if you're into serial killer stuff, too.

The Departed (2006); dir. Martin Scorsese - 94%

Another fun fact about me: I grew up in New England, as well as currently living there. And I live in an area of the region where Boston is a major feature, as is the culture that revolves around the city. And yes, this film is well-known for being a somewhat stereotyped view of Boston...but JESUS FUCKING CHRIST, is it wicked accurate, kid! It also helps that, as a Scorsese film, it's very well-made and absolutely star-studded. Some of those stars, namely Damon and Wahlberg, are actually from the area, and they flex some intense Boston accents throughout this movie. DiCaprio and Nicholson are also fantastic in this film, as are Sheen, Baldwin, Farmiga, Winstone, and Anderson, even though some of them don't quite pull off the accent as smoothly as others. Baldwin, in particular, is still Alec Baldwin, no matter how you try and change that voice.

Directing and cinematography is stellar, unsurprisingly, while production and art design is definitely very iconically mid-2000s Boston. The score of this film literally changed the musical tastes OF BOSTONIANS, according to my fiancée who's more from the area than I, and the editing is also top-goddamn notch. And the plot and writing? Holy SHIT, the plot and writing! Look, you need to now two things. One, this is a cop-mafia drama in a vein similar to Heat, and it is VERY good at that job. A little bloated, story-wise, but it doesn't show too much. And two, watch this movie, do not look up the plot or film beforehand. Suffice to say, this is an in-depth morality play all over the spectrum of morality, and the twists are EVERYWHERE. Please check this one out, it's fantastic. Go Sox.

Zodiac (2007); dir. David Fincher - 90%

And last but not least, another serial killer film with an unclear ending, and one that focuses on the investigation and the figures involved instead. Zodiac is a fantastic movie, based on a book about the case by Robert Graysmith, who's played in the movie by Jake Gyllenhaal. Graysmith is, in fact, arguably the main character of the film, with Robert Downey Jr. and Mark Ruffalo playing other key figures in the investigation from both a press and police side, respectively. You watch how this unnerving case affects these people's lives, while knowing that the case won't ever actually be solved. They present a case for the killer, but no actual answers. And in playing with that, Fincher is able to build some real goddamn tension in some moments.

Again, though, not perfect, but it's pretty damn close. Acting is stellar all over, even though some people don't quite disappear into the role. Ruffalo and Gyllenhaal are amazing on that particular front, but it's hard to see RDJ as anyone but RDJ, as an example. Plot and writing is great, directing and cinematography is great, production design is pretty good (I dunno, I wasn't as sold on that one, but that might be a me thing), and the music is great as well! Editing makes the film a little overlong in my opinion, but I don't think it affects the movie much. Check this one out, again, if you're in a serial killer movie mood.

And that's it!

Next film I was set to watch was Captain Phillips, and I'll try and check that out this year regardless, but I only got that fair this year. That said, though, the next movie I'm set to watch in 2023 is technically a crime film, from what I understand. But I'm leaving the life of crime behind for a while otherwise. I've done my time, so it's time to say farewell to the old life for now. But that said...I do have plans. Oh, I always have plans.

In 2023, I'll be going off of a list of challenges, as curated by the book Everyone's a Critic: 52 Week Movie Challenge. These challenges each require I watch films of specific categories, like award-winners, animal films, etc. And the first one in the 52 Films challenge is Best Picture winner. And for the first of those...I gotta watch this movie. And I've been wanting to watch it since 2020. So, what better time like the present? Plus...been a while since I've watched a foreign language film, honestly. So, strap in for the next one! It's gonna be a ride in 2023.

Next: ...We'll see.

[shesmore-shoebill]

this episode really feels like them just hanging out and bonding while there happens to be a camera present. and a nerf dart martini