May 2010 - Can't Stop the Movies
Can't Stop the Movies

The Mark of Zorro (1920)

Danny no longer writes for Can't Stop the Movies, and can be reached at his fantastic site

Danny LIKEEarly in The Mark of Zorro, we get a pretty hearty taste of who Zorro is. After fighting a duel in a seedy bar, Zorro ducks out of a nearby window to make his escape. A horde of troops give chase, failing to notice that Zorro simply popped back in through the window when they weren't looking. Zorro calmly picks back up his cape and hat, and hides behind the open door as the troops file back in dejectedly. Unable to resist, Zorro pokes the man he'd been dueling with in the butt as he enters. The man thinks it was the soldier behind him fiddling with his sword and promptly wallops him. Laughing, Zorro departs, leaving everyone frustrated and confused.


The Movie Hero (2003)

Danny no longer writes for Can't Stop the Movies, and can be reached at his fantastic site

Danny LIKE"What if this is the movie that holds the meaning to the universe?" Blake asks, pointing at the movie screen. "That's why you have to see every one."

Blake knows what's he talking about. After all, he is the star of the movie. And he knows it.

As played by Jeremy Sisto, Blake is a lovable loser. The movie begins with his being dumped by his girlfriend for dragging her to another movie. He walks out onto the street and apologizes to the audience for not being very compelling, and immediately points us to a suspicious guy for us to follow... because he's awfully suspicious.


Decalogue: Four (1988)

My examination of The Decalogue is a full analysis of each film, its themes and visual strategy.  If you have not seen The Decalogue, I would highly advise stopping here and watching it before continuing.

"Honor thy father and thy mother"

Andrew COMMENTARYFans of psychological fiction would do well to join me in examining the fourth film in The Decalogue series.  It deals with some heavy identification issues and contains so much shifting symbolism it can difficult to see who represents what to who.  I'm not talking symbolism in the "Oh, the statue symbolizes the country's continued strength" sense.  Rather I am speaking about the way that certain objects and feelings fill a psychological void that is left by the lingering presence of The Other.  Brace yourselves, it's about to get Lacanian in Kieslowski's world.


The Class (2008)

ANDREW LIKEThe best way to criticize a movie is to make another movie, so the old maxim goes.  To this date, I have not seen a film that really dealt with the complexities of a classroom in such a way that would alter anyone's perception of what it is like to teach.  Certain films have come close - Wonderboys is great for life on a college campus and Stand and Deliver for an unconventional teachers take on modern learning.  But those are more concerned with either the rhythm of campus life or making a broad statement about society.  No film has the bravery to confront the realities of the teaching experience like The Class.


The Princess and the Frog (2009)

Andrew INDIFFERENTIt's a shame that traditional animation has taken a backseat to the computer generated styling of Pixar.  The only time that we have a bone thrown into the well of 2-D is when Miyazaki decides to release one of his projects.  It's strange that Disney didn't decide to at least keep up with the industry that they both started, killed, then breathed life back into - but perhaps that is all wishful thinking.