Liz <3 Movies (moviemaniacgirl)

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Liz 's Favorite Movies

Fight Club Fight Club R
I rarely start off with a quote but here we go, "It's only after we've lost everything that we're free to do anything." In my opinion this is one of the most powerful quotes ever uttered in a movie, and luckily for Fightclub, most of the other powerful quotes take their residence in the movie as well. " People are always asking me if I know Tyler Durden." And so starts the fanominally acted, breath taking action movie Fight Club. Once you begin the movie you are on the edge of your seat taking in every shot, every line, every movement of Edward Norton and Brad Pitt. Fightclub inhabits your body, it becomes an addiction, a need. WIthout Fightclubs presence you feel empty. After watching Fightclub I felt empty, but most important I felt full. I had to watch the movie again to relieve the emptiness, and once it was over the second time I began to take the fullness and think. Fightclub is a movie that makes you think about what you've done with your life, about everything, and especially society and mediocrity. Be prepared to realize that, as Tyler Durden says, "We are all part of the same compost heap." Firstly there is no actor that can ever compare to Edward Norton. Norton has a calm intensity that is rivoting. Edward Nortons narrartion of the film made it at least ninety times better than any other movie I've ever seen. Listening to his voice is soothing and it adds a stage presence to anything he is speaking of. Edward Norton's character was like his other half, it felt natural, even Norton's body suggested his character traits. Without Edward Norton their would be no Fightclub. If anyone tells you that FightClub stars Brad Pitt, you can just look at them and inform them that they obviously haven't seen Fightclub. Brad Pitt, though not the star of FightClub, adds so much character to the movie through his role of Tyler Durden. Brad Pitt's laugh was one of the most intense and maniacal laughs I've ever heard in any movie, no matter what genre. Tyler Durden was a character that was vital to the film that if he had been cast wrong the movie wouldn't be half of what it is today, and it's IMDB's 18th Most Popular Movie Ever Made. Luckily for Brad PItt he has a tendancy to be perfect at these types of films. "We just had a near life experaince", as Tyler would say. Helena Bonham Carter has a darkness about her, it's extremly eye catching and well-done, it's almost an art-form. She continues to amaze me through her depressed, but loving characters who have such a violent range of emotions that you can barely follow her, but you have fun trying too. I love Marla and her role in the movie. Meat Loaf, and Jared Leto add to the story through their humorous interpretations of what could be heart-breaking characters. Both perform amazingly and add relativity to the film in their own special-little ways. The story was written so perfectly that I couldn't find a single flaw in it. Every moment of the movie made me more attentive to the plot. The ending, and twists were constructed so effortlessly that you barely realized they were happening. Every moment, and every cut of the movie to a different moment in Tyler or The Narrartor's life added infinantly to the film. It was well made off of the novel and in the moments of deviation from Palahnuick's work it was only an addition to the watchability, or the possibilities of movies. It was a great shrine to the novel's excellence. David Fincher was fifty percent of what the film is. Every time the camera angle, or scene changes he adds something that surprises or informs the plot. Adding in the intricite detailed moments and flashes of image or sound controlled the movie's knowledge of anarchy, and Tyler. Fincher's shots made the movie first-rate, insitful, original, clever, and thought-provoking, not to mention kick-ass. Fightclub is power, and makes you think twice about life and society, definately worth a watch no matter who you are, or what your beliefs are. Remember the first and second rules of Fightclub "do not talk about Fightclub." (It'll definatly be hard for you to follow those rules)
Drive Drive R
An unequivocally masterful film that holds on its shoulders the most well rounded ensemble cast, a rising star director, and pure writing genius. By far the coolest, most disturbing, out-of-this-world, down-to-earth, heart-breaking, believe-in-love film I've ever seen. From the strategic and precise opening shots to the ambiguity of all that is the conclusion, each shot drips with intensity and the burden of pointed meaning. Nicolas Winding Refn will be the next huge name in cinema directing; his artsy quality juxtaposed with exploitation-tags and flickers, leaves an unsettling reality in its wake. Though it may make audiences squirm uncomfortably in their seats, we are voyeurs in this plot-- silently being wrenched back and forth, and often just watching, like their lives are our sick-documentary. Refn is in command of not only his film, but his audiences' sanity. Paired with Refn, Gosling is at the height of his big-screen brilliance. Where many thought Blue Valentine, or Ides of March fully expressed the range of his talent, "Drive" shows us more than simply his talent. First hand viewings of Ryan Gosling's heart and soul and beauty are bought for only $12 at a theater; and believe me, it's worth every penny. The utter magnificence of his being leaves every viewer with a tender smile, or a soft-spot for redemption. His gritty moments and his vulnerable looks are equally as surprising and phenomenal. But it was his sincere chemistry with Carey Mulligan that sold the film. Mulligan, always the delicate flower of her films, is firm without falsity, and truthfully gracious. Her subtle and quiet performance stole several moments of the film, and left the audience wondering who they had just witnessed. The new-found passion of Mulligan as a performer is simply breath-taking. Cranston, Brooks and Perlman-- all the underscores of dirt-- sold themselves with poise and ease; their performances complemented the film's intent flawlessly. In fact, the only actress I was disappointed in was Christina Hendricks, who let her body do the acting, and left her face almost plastic at several points in the adventurous plot. As successful as the faux-80's, name-dropping, subtly-elegant and heart-wrenching screenplay was the original score by Cliff Martinez (inspired by '80s-style, synth pop). If this score doesn't find its way into your head-- on replay I might add-- then nothing will. All in all, the film can attribute much of its success to the minimalist dialogue, and the packed-script. Each moment was written to fall of the screen and attack the audience. Colors and cars and women and blood. Not a moment was for show, and each word was delicately chosen to the full extent of its meaning. I can hardly imagine this elegant and fascinating screenplay having ever been a novel-- no words could capture what happened between the lines, and in the lead's eyes. Overall, a must-see-- Must-see. if you haven't seen you are not a movie-fan or even appreciator. You must-see this film.

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