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Film & TV on DVD - John Doe News & Reviews

Greetings Film Fiends and welcome to John Doe's Film Blog. 30 years of dedicated celluloid obsession has meant that I have seen a few films. Drawing attention to some of the lesser discussed gems that I love. Cult classics, obscure curios and quality genre pictures. This blogs purpose is to translate some of my passion for these films and with luck, inspire you the reader to go check em out.

Crime Drama Thriller - Film & TV on DVD

Whatever Happened To Baby Jane (1962) - Trailer Included

February 20th 2008 00:01

Whatever Happened To Baby Jane

DVD Available in Australia

Disclaimer: This post may contain spoilers

In 1962 Robert Aldrich Directed what can be called, along with maybe Sunset Boulevard, the film of the year. To call Whatever Happened To Baby Jane a mammoth cinematic achievement would be only a slight understatement, for it also showcases possibly two of the greatest performances by two actresses in the 1960’s, if not ever – Joan Crawford and Bette Davis clash like titans in some of the most vicious stand offs you can imagine. Bette Davis stars as Jane Hudson, a former child star whose acting career as a grown woman has been overshadowed by her more talented and successful sister, played by a wheel chair bound Joan Crawford. In a world where great female performances are few and far between, these two fine actresses are fused with a paranoid intensity, created by Aldrich, which will cause unrestrained delight to fans of dark and macabre films or by that note those who even do not even object to it.

Bette Davis and Joan Crawford - You can just feel the love

In WEHTBJ the story takes melodrama and horror to a feverish pitch. I suppose this film is not for everyone, it certainly does not paint a pretty picture as Bette Davis’s character continues to taunt and abuse her paralysed sister. The film has unusual similarities in structure, events and character to Sunset Boulevard and while you can not help but put them side by side, they are certainly completely different animals, Baby Jane focuses specifically on the horror of the here and now, its sweaty, 'in your face' intensity and emotional violence abandons the post card quality that a lot of these type of stories invite to them.

The bitch is back

The casting is perfect as these two divas off-screen animosity runs rampant on screen, Joan Crawford’s trademark hardened facial qualities play well against her sympatheic approach to her character and Bette Davis’s famous eyes along with her over the top make up are used to create a hysterical madness as she hand in hand with Aldrich creates one of the most interesting and effective portraits of an emotionally disturbed individual.

Indeed one of Aldrich’s crowning achievements he provides all the right ingredients for a juicy and very scary character study of two woman not just pushed into madness but swimming around in it. If these sounds like your cup of tea, don’t wait another second to see it.

By John Doe Guest Writer: Shaun Katz

Warning:Clips contain Spoilers
Watch the original trailer that includes shots of Robert Aldrich Directing.

A classic scene from Whatever Happened To Baby Jane

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Posted By: JohnDoe - Category: Crime, Drama, Thriller

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Heat (1995) - Footage Included

January 2nd 2008 00:01

Explosive motivations in the mirror

Heat DVD Cover- Available in Australia

Writer/Director: Michael Mann
Starring Al Pacino, Robert De Niro, Natalie Portman, Val Kilmer, Tom Sizemore, Ashley Judd, Hank Azaria, William Fichtner, Henry Rollins, Jon Voight, Wes Studi

"A guy told me one time, "Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner." Now, if you're on me and you gotta move when I move, how do you expect to keep a marriage?" - Neil Mccauley

Performing micro surgery on the life of professional criminals and the lawmen that hunt them, Heat is a character study of machinations and consequences. Remaking his own film L.A Takedown, Stylist Director Michael Mann drenches Los Angeles in a thick ambience for this electrifying cops and robbers epic.

Neil McCauley (Robert De Niro) is the steely eyed, withdrawn lifetime crook who follows a strict code of emotional detachment. The blood hound L.A policeman on his trail and in his head is Vincent Hanna (Al Pacino).
"You know, we are sitting here, you and I, like a couple of regular fellas. You do what you do, and I do what I gotta do. And now that we've been face to face, if I'm there and I gotta put you away, I won't like it. But I tell you, if it's between you and some poor bastard whose wife you're gonna turn into a widow, brother, you are going down." - Vincent Hanna

Both men lead expert crews, obsess over every detail of their work and have fully accepted the realities of their chosen fields. Now the City of Angels streets are going to become a battleground of counter surveillance, covert techniques and destructive automatic weapons.
"Well ya know, for me, the action is the juice. " - Michael Cheritto

It is the daylight robbery of a payroll van that triggers a collision of destinies as McCauley executes the operation with military precision and Hanna is assigned to investigate the case.

A rivetting test of wills, skills and kills ensue as adversary and prey manoeuvre on instinct, jockeying to out guess their opponents.
"M.O.? Is that they're good... Once it escalated into a murder one beef for all of 'em after they killed the first two guards, they didn't hesitate. Pop guard number three because... what difference does it make? Why leave a living witness? Drop of a hat these guys will rock and roll." - Vincent Hanna

The Robbery, the talk and the mood

John Doe Says:
Taking a pair of cinematic legends and finally having them in same frame on the big screen then favouring neither side. The power plays and dealings of both sides receive equal attention to become a definitive portrait. Scrutinising their private lives, social interactions and psychology to deliver an authentic and powerful work, complete in its demanding portrayals.

Obsessively researched by the ever thorough Michael Mann (Thief, Manhunter), the sledgehammer plotting and deliberately uncomfortable pacing lets the numb melancholy and trademark atmosphere enter the audience subconscious. The lengthy running time goes by unnoticed, there is too much to see and think about in every silence.

The bullet riddled, intensity of realism from the central bank heist has been used in coaching anti-crime divisions since, testament to its commitment to physical honesty.

The intense screenplay thrives on moral ambiguity and subjective character choices. Taking you into the mindset of its players the loaded words are used sparingly and by the finale tribute to Bullitt seem to have multiple implications.

Robert De Niro (Greetings, Godfather II, Midnight Run, Deer Hunter) lodges one of the few notable performances of his later career here. His withdrawn and guarded manner ideally suited to this ghost of a man.

Al Pacino (Scarface, Scarecrow, Godfather, Cruisin, Serpico, Dog day Afternoon) as the man commanded by his killer instinct thrives on the thrill of the chase. The actors exuberant style is perfectly suited to the interrogation and domination of situations that his part requires.

The singular coffee shop verbal confrontation is as compelling as any in the history of cinema. Alternate energies bounce of one another as the plot pivotal conversation plays out, revealing the subconscious motivation of each.

Val Kilmer (The Doors, Kiss Kiss bang bang, salton sea, Thunderheart) proves his versatile dedication to craft, his career criminal icy proficiency comes through in every glance. Watching his wham-bam reload in the street battle in swift, coordinated movements you see the endless hours of repetition that must have been spent weapons training.

Tom Sizemore is a great character actor and here his glassy edge is an unquestionable strength, much like Scagneti in Natural Born Killers.

It’s not all macho posturing though as the strong woman add dimension to their counterparts. There’s Diane Venora (Insider, Ironweed, Bird) as suffering wife Justine Hanna and her troubled daughter played by Natalie Portman (Leon: The Professional, Garden State, Beautiful Girls). Amy Brennan is the woman who falls for an enigma, and Ashley Judd is at wits end with her risk junkie husband.

John Doe is not alone in his love for this immersing experience, the cinematic technique is faultless. The breaking down of the jobs and revealing similarities enthrall. This is quality action cinema of high calibre pedigree, the ensemble cast and crew make it essential for every DVD collection.

Watch the Heat trailer

Here is the palpable coffee shop scene

Here is a revealing clip of what happens when De Niro gets justifiably bugged

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Posted By: JohnDoe - Category: Action, Crime, Drama, Thriller

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Dog Day Afternoon (1975) - Footage Included

October 26th 2007 00:02

2 Disc Special Edition available in Australia

Director:Sidney Lumet
Writer:Frank Pierson
Starring:Al Pacino, John Cazale, Charles Durning

“No, I don't want to be paid, I don't need to be paid. Look, I'm here with my partner and nine other people, see. And we're dying, man. You know? You're going to see our brains on the sidewalk, they're going to spill our guts out. Now are you going to show that on television? Have all your housewives look at that? Instead of As The World Turns? I mean what do you got for me? I want something for that.” – Sonny

Based on a true story, Dog Day Afternoon is cinema verite that lets you invest in the characters because of an unblinking fly on the wall reality. This crackling bank robbery thriller with a dramatic back hander is the stuff of legend, to be discussed and dissected.

It’s looks like a typical summers day in New York City 1972, as the camera gives us a tour of the city that ends in Brooklyn when we meet Sonny (Al Pacino) and Sal (John Cazale).
“Uh, no. Doing what? You know if you want a job you've got to be a member of a union. See, and if you got no union card you don't get a job.” – Sonny

Screwed by the system and struggling they have decided to rob a bank in broad daylight. Sonny is the kinetic man with the plan. Sal is the volatile ingredient required to make sure the hostages take notice.

As the police surround the area and the news crews turn up a media frenzy erupts. The captured bank employees and customers begin to see that they may get out alive.
“At the airport. We get on the plane, check it out, and if it's all okay we'll send them out. Except one.” - Sonny

As the day progresses the two gentle meaning crooks nervous energy rises. Sonny talks to the police, the media and his captives as he tries to survive, but nobody could see where this perspiring tension was going to end.
“So what country do you want to go to?” - Sonny

'Attica, Attica, Attica, Attica'

John Doe says:
As the vice slowly gets turned and the automatic weapon has its safety switched off this creatively engineered story drags you into its gritty realism dowsed in an atmosphere of claustrophobic suspense.

Observant and comedic at times, the man with his hands on the ratchet is Director Sidney Lumet who caresses us through the powerful drama with dashes of blue black real life absurdity.

Air tight execution means that the sincere attention to detail just pulls you in further. The long silent pauses benefit from a lack of any background music other than what is in the frame. The viewer is allowed to subjectively perceive the sometimes improvised moments that come out of Frank Pierson’s (Cool Hand Luke, The Anderson Tapes) Oscar winning screenplay.

The documentary cinematography brings out the carefully tapered performances that unconditionally convince. Edited to an organic rhythmn as the seconds tick away the complex and involving lead characters gain a hyper real honesty.

Al Pacino had already created unforgettable characters as a young Michael Corleone, and in uncorruptable cop Frank Serpico when he took on the part of Sonny. His dynamic inhibition free portrayals that fearlessly remain morally conflicted are his best and in Director Sidney Lumet’s Dog Day Afternoon his performance confirms his reputation in the 70’s.

Unfaltering, John Cazale had such a tragically short career and life, but what a resume. If your only going to star in 5 feature films let them be Francis Ford Coppolla’s The Godfather I & II, The Conversation, Michael Cimino’s the Deer Hunter and Sidney Lumet’s Dog Day Afternoon!

Al Pacino has never been better as a tightly compressed panther inverted by Cazales jittery hyena with an itchy trigger finger and together they are combustible on screen.

This is a film where John Doe struggles to breathe as the oxygen is taken from his lungs with each passing tick of the clock. The acting is free and loose yet deliberate and everything around it follows suit. Dog day Afternoon matches any thriller of ever made because it captures the one thing special effects can never do, intellectual gut emotions that is true.

Watch the Trailer