Leaving Home

The former town mayor told George Webber the truth even before George discovered it for himself. "You can't go home again," he told George. "Don't you know you can't go home again, young man?" The words lingered in George's mind for many years to come.

The story continues after this fateful conversation, and George is eventually banned from his hometown. His novel and life story, Home to Our Mountains, caused the town's inhabitants to hate him.

Is home really home after you have been away from it for a time? Is it true that once you have left a place then you will never return to that same place again? If perception is reality, then does a mind perceive "home" as the place in which it discovered it's own identity? Can a mind call "home" a place that ultimately provokes painful memories of confusion, frustration, and loneliness?

Reader, if home is the place in which we discover our own value, then I say that we can never go "home" again. Oh reader, don't you know that youth is confusion, frustration, and loneliness.

It is sad to know that, at some point, home won't be "home" anymore. It will simply be the place where you spent your childhood.

Letting "home" go is an essential leap in one's personal maturation. One must learn that home is not a house or a building. Home is not a pet or even a person. Home is accepting yourself as God made you. We are never really home until we say, "God has given me so much, and I'm going to thank him by living my life in accordance with his will." We must believe this statement no matter what we have.

Those who believe will find thier happy home.

Yes, we can live anywhere for any length of time then. We do not live at home. Home lives inside of us.

Sin City is a big deal for comic book types.

Frank Miller's body of work is quite remarkable. It contains most of my favorite classic storylines. The Dark Knight Returns is his undisputed masterpiece, and most people consider it to be his most impressive work. His Daredevil storyline "Born Again" (#227-233) is the best Daredevil story to date. Miller wrote the Elektra saga (#168-181) and that ranks as the second best Daredevil storyline. All of these stories are very close to the comic book lover portion of my heart. Year One Batman is also a wonderful piece of work to go along with the others.

Of course, his name is popping up everywhere these days because of the new Sin City film by he, Robert Rodriguez, and Quentain Tarantino. I've read the three storylines involved a number of times and I am incredibly excited about the release of the movie.

Personally, I would have gone with A Dame to Kill for as opposed to
The Big Fat Kill. The Big Fat Kill is the most bizarre and surreal of all the stories and maybe this is why the trio decided to film this storyline. I don't disagree that it would transfer to celluloid interestingly, but A Dame to Kill For is probably the most well-written of all the Sin City stories. The Big Fat Kill isn't even very accessible because protaganists are difficult to decipher from antagonists even for Sin City standards. The other two storylines, That Yellow Bastard and Sin City, represent the Sin City thing perfectly. That Yellow Bastard is probably the more conventional of the two books so it will be well-received by movie-goers. Of course, Sin City and Marv are the personification of what is Sin City. Big fans of the book will revel in this storyline because it is THE classic and original Sin City story.

The early reviews of the film have universally ranged from basically satisfied to completely blown away. That is a good sign. (It's not like Godfather II received any bad early reviews you know. Ahem. This won't be Godfather II.)

The film needs to be violent so I don't know how well it will do at the box office. Hell, Kill Bill did fine, but I also somehow doubt this film will be as good as the Kill Bill movies. The b&w is stunning in the trailers. The splashes of gold and blood red are brilliant and surprisingly effective. (They were for the minute and a half trailers at least.) The casting really seems perfect. How good is the fit of Rourke as Marv? The film seems as if it was conceived just for the diehard fans of the comics. I am very happy that a studio finally did that for a major comic book film.

Still, The April release date and Robert Rodriguez's direction have me skeptical. April is not a bad time to release a movie. In fact, it is quite possibly the most interesting month to release a film. Last year, Man on Fire and Kill Bill 2 were released in April. These were two very interesting films if not great ones. I would be very happy if Sin City is interesting but not particularly great. Even if it were just interesting it would be the best comic book film ever. This is still just thoery. Most April movies suck. I liked 13 Going on 30, but that came out last April too.

Robert Rodriguez's movies have basically been bad. They are all fun to watch once, but there is never a real desire to watch any of them a second time. Desperado is a film that I don't really mind watching multiple times.

You just have to like Rodriguez though. His reputation is better than his actual films. It's an event when he makes something despite the usual low-grade of the actual movies. I can see why. While watching Rodriguez films, the viewer can really feel the sheer enthusiasm the director has for making movies. I'm really pulling for Robert on this project.

I hate to say it because I love aintitcoolnews and Harry, Quint and those guys, but it can be hard to believe thier reviews sometimes. Not that aintitcool sucks. Quite the opposite. Aintitcool is the most literate film website on the internet without question.

I'm just dubious of Harry's positive review because he's friends with Robert Rodriguez. Of course Harry occasionally gives positive reviews to films that suck. He does that to stay on good terms with some of his cool Hollywood buddies. Harry does not suck for this, but he does do it. Anybody remember the Blade II review? Harry practically made that "film" sound like it was the second coming of 8 1/2. Doesn't Harry know Guillermo Del Toro personally? That's interesting.

A positive review for Alexander? Oh come now. You're not taking a chance with somebody's relationship when you dis Blade 3 or Punisher, but it would do Harry some good to give a positive review to anything Mr. Oliver Stone might direct.

Harry isn't as bad as some say he is because he had the gaul to dis Mystic River. I love the film, but dissing it took some guts. I like him more for it. I don't know if he is friends with Clint Eastwood, though.

Harry is also just too nice a guy to dis his friend's movie. The man is not above giving films sympathy reviews for a project he feels sorry for. Of course Alexander, and does anyone remember the Matrix sequels? I do. They sucked. He defended them and there was not much reason too.

Also, Harry said this is the best thing that all involved have ever created. That means that this is the best thing that Quentain Tarantino has ever associated his name with. I'd be very surprised if that were true.

Basically, a good review by Harry can be misleading, but I am encouraged by the high percentage of positive reviews. Sin City is the fanboys dream project. The books are as good as advertised. The trailers look great, and the film is a transfer of the books to the screen so it has to be great, right? I get excited when I hear that hard-boiled dialogue straight from the comics. We'll see about this film, won't we. I wish I wasn't so skeptical.

Let's start off with films...

Films are really my second love behind pro football. I'm going to reveal and explain my top ten favorite films...

10. Pulp Fiction

Yeah, I know. But what can I say. I love Martin Landau's work in Ed Wood, but should he really have beat Sam Jackson for the oscar in 1994. No. I'm not buying that. Sam Jackson's Jules in Pulp Fiction ranks as perhaps one the greatest pop performance by an actor in the last two decades of cinema. John Travolta's performance is a revelation. Don't you still like him after all the sins he committed over the years? You still like him because of this and Saturday Night Fever. Uma's great, of course, and we all thought that Ving Rhames was going to be great after this came out. (Just how wrong were we?)

Yes, the Quentain Tarantino thing is annoying, and I can see why. But Pulp Fiction shows that he is an undeniable film genius. The storytelling and dialogue are truly brilliant. Oh yeah, this film shows Harvey Keitel, Eric Stoltz, and Christopher Walken at their quirky best. Need I say more?

9. Saving Private Ryan

Why isn't this film more universally loved. Sure, it's loved a whole lot, but fanboys seem to think that they are too cool to like it for some reason. True, it is a very important and square-jawed film, and those things are annoying BUT...

This is one of the greatest films ever made. The heroism, the acting, the story-telling are all superlative in my book. And the violence. This is intelligent violence. Meaningful violence. The movie needs this violence to be the great movie it is. The script, despite what naysayers might say, is wonderful. This is not Apocalypse Now people. This is a conventional, meaningful film that is supposed to be conventionally executed. No, the word conventional is not a bad word always.

The movie also contains what I find to be one of the most profound ideas ever dealt with on the big screen. It is the idea of "earn this". I am a Christian and I know we can never earn the gift of life. We will fall short of the task. Captain Miller's words to Private Ryan cursed him for the remainder of his life. The implications of those two words could prompt a very long discussion on quality of life and Christian faith.

8. A Streetcar Named Desire

What? What is this doing here? Marlon Brando is what is doing here. Marlon Brando, in this film, gives the greatest performance in the history of cinema. Before Streetcar, actors wanted to play heroes. After Streetcar, actors wanted to play villains. The words "animal magnetism" only begin to describe the kind of charisma and energy that Brando conveys here.

We would not even have "dark" films today were it not for "Streetcar". Would there even be the films that "have no real good guys"? No. This film made it possible for moviegoers to "enjoy" watching actors play characters whose lives are just as screwed up as theirs. Movies were entirely escapism before "Streetcar". Not quite so thereafter.

Anyway, I love this film because of Brando.

7. Citizen Kane

Aw yes. What can I write about this film that has not already been written. The film's history is iconic, Welles is at his best (and that is saying a lot), the film looks great, and the brilliance conveyed by all involved here is just incredulous. One thing I want to write, though, is just how WATCHABLE it is. I asked my best friend one time if he had ever seen it and he said, "No, I think your like supposed to pause it after every scene and study what just happened." A great quote from my boy to be sure, and this is the stigma that comes with watching Citizen Kane.

Shockingly, it is not really true.

To me the greatness of Citizen Kane lies in the fact that anybody can watch it and really enjoy it. Yes, technically everyone is too dumb to watch it, but, at it's core, it is a simple, coherent story that is very easy to follow. I mean all it is is the rise and fall of a very powerful man. Is that really all it is? Well, of course not, but non-intellectuals can watch it and take something from it. Therein lies the brilliance of what it is "Citizen Kane". Also, it is just remarkable how ahead of its time it was. That movie could have been released in 1971 easily. It probably would have been lauded with more praise than it received in 1941. It's just aged like fine wine.

6. Mean Streets

Scorsese really peaked early. Sure Raging Bull is his seminal masterpiece, but he was trying to wow us with that one. Mean Streets is a more raw and honest piece of artwork from him. This is THE first major film from that young, hip, upstart director that we were all were just so blown away by. The movie just oozes that kind of energy and vitality from start to finish. The young DeNiro, the who the hell is Harvey Keitel thing, it's all there. Mean Streets is great cinemas version of what MTV wanted "Lock, Stock, and Two Smoking Barrels" to be. I think I just insulted Martin scorches by even associating Guy Ritchie with his legendary name.

The music, the camerawork, the lighting in the bar, it's just so sensational, exciting, and vital. This film is pure energy. People are always talking about the "coolest movies". Well, Mean Streets is literally one of the top five "coolest" movies ever made.

5. Jaws

I am not particularly into popcorn fun, but Jaws is so well-executed that I just get completely wrapped up in it. I am really an incredibly cerebral film-goer. I have a bad habit of sizing up a film while I watch it. Rarely do I let go. I let go during Jaws. Spielberg says he sees movies as a roller coaster ride for audiences. Whatever. You just watch and have fun. People in film are always talking about a "Saturday Matinee movie" but rarely does a good one actually get made. Jaws is one of the few. Actually, it might be the best one ever. An absolute bullseye in a difficult genre. A triumph of perfect storytelling and intelligent filmmaking. This is not Private Ryan at all. This is the Spielberg of Indiana Jones and Close Encounters. This is the Spielberg that movie geeks love. This is his best film.
Of course, Jaws is hands down the best monster movie ever made.

4. Raging Bull

Poignant poetry. Albeit ugly, nasty, mean-spirited poetry. Raging Bull is still beautiful cinematic poetry. This film has been discussed for years now, and no one can figure out how Scorsese pulled a stunning work of art out of the very off-putting Paul Schrader/Jake LaMotta script. Basically, the answer is Scorsese is just so obsessively in love with deeply flawed man. La Motta is practically a wild beast, and Scorsese turned him into a romantic figure straight out of Greek tragedy.

This is DeNiro's best too. How can a character be dumb, smart, sympathetic, shameful, lovable, awful, pathetic, and respected all in the same movie? Robert DeNiro's Jake LaMotta managed to be all these things at the same time. A tour de force by one of our greatest actors. He's the reason why anybody can watch this film.

This film boasts revelatory supporting work. Kathy Moriarty is unbelievable here,(where did she go?) and Joe Pesci does his best work. Ordinary People and Robert Redford beat out Raging Bull and Scorsese in 1980 for Best Picture and Best Director. I'll just leave that there. I like Ordinary People a lot actually, but which film of the two films has held up over the years. Hmmmmm...

This is an art film to be sure, but DeNiro's performance makes it accessible. Overall, Raging Bull is an amazing, unlikely work of art by a living legend. See it twice for it is not a watch once movie.

3. Godfather II

No, I will not give into the Godfather films here. Godfather II is not my favorite movie of all time, but in terms of quality it might be, in my humble opinion, the best movie of all time. Besides the lavish production values, the story is multi-multi-multi layered and intriguing: Just how many things are going on here. Well, here goes:

The family is in trouble, the heads of the crime families are involved in a plot to kill Michael, the FBI is after the Corleone family, Michael kills off everyone who he THINKS is against him, Michael might be a little psychotic and vengeful, Michael is different from Vito and in a bad way, Michael has his brother killed and he kicks his wife out of his house, and the immortal Corleone family ties are now severed with betrayal,
AND:
Vito is a killer, Vito does the kinds of things that we see Michael do, and Vito is a great self made man in his world.

AND IT IS ALL COMPREHENSIBLE TO THE AVERAGE VIEWER!

The movie looks BEAUTIFUL with rich browns, off-setting black and whites, and just a splash of dark burgundy. This gets my vote as "most elegant looking movie ever" filmed.

Al Pacino gives the greatest understated performance in the history of film here.
Just watch him as he approaches Kay before he shuts the door on her. He is so powerful and sinister and he doesn't say a word nor change his expression. No one has conveyed this kind of acting power since his performance in this film. DuVall is underrated in this film and really plays a major role in holding it all together.

DeNiro is splendid as young Vito. The performance is really too good to believe, and it is fun watching him play the young Don and Brando all in one performance.

The film is literate and allows viewers to discover certain truths on their own.
There is a lot to extrapolate from this film and a bright viewers will enjoy thinking about it many days after they have watched it.

Coppolla has never been topped by anyone with the Godfather II. This, along with Hugo for Gone with the Wind, is the most impressive directorial work/storytelling by any director ever.

2. Godfather I

This film manages to be a stunning artistic achievement and a big, kick-ass blockbuster at the same time. It just towers over the viewer and absolutely rules the silver screen. Godfather II is more refined and elegant and even intellectual than Godfather I, but Godfather I just has more IT than anything ever filmed. It's more fun and appealing than Godfather II. Godfather I is what movies are supposed to be: brilliant and beautiful and fun and larger than life at the same time. Not just anybody could make this thing. This thing is an event. It's truly larger than life.

Most of this is due to Coppolla Brando, and, yes, James caan. Coppolla hasn't really caught his stride here, interestingly enough. He doesn't have the total control he has in Part II. The film feels looser and ultimately isn't as serious as its successor. It's still feels serious, but its not sinister and evil. It's more "kick-ass" or "so cool", and "kick-ass" and "so cool" are more fun than evil and sinister.

Brando in the iconic role of Vito Corleone is the most charismatic character ever created for film. It's funny that some say he scene-chewed. I don't disagree at all, but I love him in the film and it's great how he reels it all in just enough to keep it from utter ham. He also plays a character that is lovable, a big contrast to the Michael Corleone who is unlikable and cold. He's not in every scene so some scenery-chewing was required to make the character as tangible as he had to be. Overall, definitely a well-deserved oscar if only for sheer charisma.

James Caan is great and his performance has held up beautifully over the years. He is here what DuVall is to the second film. He keeps everything identifiable to the viewer. Again, Coppolla, Brando, and a younger Coppolla keep this film loose, and this loose quality makes this film ultimately better than the sequel.

This movie is story driven like the Lord of the Ring films whereas the sequel is all about the father and son. This enhances the overall accessibility of the film for it is not as dark as the study of the two flawed men.

Hey, I just like Godfather I more than II. It's more fun and it doesn't take itself quite as serioulsy as its successor. It's not as demanding a watch as Godfather II either so your not quite as tired when it's over. Plus, Michael scares me a little too much in The Godfather II. In contrast, I want to give Vito a big hug.

1. Heat

O.k., o.k., I know this film fits nowhere in this list due to the kinds of films that are on it, and I know my credibility is now basically ruined because this seemingly inconsequential 90s cops and robbers film actually tops it. Fine. I have come to this on my own. Heat is my favorite film of all time.

I defy any filmgoer to name me one film that STRUTS harder across the silver screen (save The Godfather) than Micheal Mann's now classic Heat. The film is just so slick, pumped up, and arrogant. It is actually and quite literally the coolest movie ever made.

Micheal Mann said screw everything with this one. His goal here was to make the coolest freaking movie ever seen by the public. He did it. Is there anything cooler than Sizemore, Kilmer, and DeNiro discussing the heist in front of thier cars in that big vast California lot? Or what about Jon Voight and DeNiro talking about Pacino's character in the Cadillac? Of course the now iconic DeNiro and Pacino scene is reason enough to watch the entire three hour movie. Oh, what about the massive shoot-out. My gosh, Mann is a God-send to cops and robbers fans.

The film's photography is razor sharp and it's gray, black, white and silver images are washed in a stark navy blue. The cops and robbers are dressed like major bond brokers on Wall Street. The overall look of the film is understated with a slick as grease California style effortlessness. It's very cool.

Why all the fuss over this film you ask? Watch it again. It has held up as well as anything great. It's more relevant now than it was in it's release in 1995. It feels larger and the characters seem more real and more developed. It's almost as if we took it for granted while it was here and now we are rewatching it and finding it to be actually as great as we hoped it was the first time. Plus, essentially, the story-telling is as good as anything you'll see.

This is a movie's movie. No academy awards because all this thing wants to do is kick your ass and it does that in spades. This film is at once unpretensous and ultimate at the same time; a feat I can safely say very few films have been able to pull off. It is not dumb either. It is an intelligent movie about just how similiar the good guys are to the bad guys.

Of course Heats doesn't have to be three hours. That's the point. It's indulgent and that helps in it in its badassness. It knows its cool. It's certainly too cool to care if a viewer thinks it may be a little too long.

This pick really reflects my geekness(or lack thereof). It's not consistent with the other picks. I haven't seen it on any top films lists. I haven't seen it really on any best of the 90s lists. I just believe in Heat. So many of my friends swear by it as one of their faves. Just check your friends age 25-32. They might love it and they might even put it among thier personal greats. Again, this is just my personal favorite film. Nothing else. Still, I think Heat will continue to gain momentum and one day be heralded as one of the great films of its era.

It might seem that this list is an advertisement for Heat. It's not. I just love that film more than I love the rest of the wonderful films.

I feel like writing today....

Here we go. I'm just going to start off on what kind of guy I am. I am really a small-time fanboy. I love 70s films and Frank Miller. Fantasy Football is close to my heart, and I am probably the last word on comic book films to all of my non-fanboy friends. I'm a huge Cowboys fan. I love Bill Parcells although his coaching in 2004 was a bit suspicous.