The Dark Knight Rises (Christopher Nolan)

Pain.

Being one of the most hyped films of the year, "The Dark Knight Rises" is one of those motion pictures that are very easy to venerate yet just as easy to bash. It's prone to criticism and fevered hate because, well, it's an easy target. There's also that little "The Avengers" vs. "The Dark Knight Rises" thing going on in the internet so the pressure for this film to deliver is quite great especially compared to the former's unexpected critical success. 

But after watching "The Dark Knight Rises" after more than a year of utter anticipation, it's very fair to say that this film has immensely delivered both in scope and emotional magnitude. It has also solidified Nolan as the best blockbuster filmmaker and his vision of Batman as the most definitive ever. Oh, and did I mention that this film completely blows "The Avengers" into the deep waters? Oh, well, enough with the comparison. 

Like the previous installments, "The Dark Knight Rises" is successful not just as a superhero film but as a drama of human flaws and as a deeply penetrating tragedy of lies and loss. But this time, it's even more than just a Batman film. It's not even just a story of Batman's heroics. Instead, it's the story of Bruce Wayne and his ultimate struggle against fear and his ever-consuming savior complex. Judging from his performance, it's quite easy to see that Christian Bale is back in his groove as the narrative center (he took the backseat for Ledger's scene-stealing presence in "The Dark Knight"), and after this film and the trilogy in general, it's really quite hard to see any other Bruce Wayne other than him. 

Now, reckon how many people consider "The Dark Knight" as a Joker film and not as a Batman tale? I think "The Dark Knight Rises" is the answer. Never has Wayne's unconditional martyrdom as a crime-fighting man in a cape and cowl better highlighted and explored than in this film. If "The Dark Knight" is all about the rise and fall of the alliance between Commissioner Gordon (Gary Oldman), Harvey Dent (Aaron Eckhart) and Batman (Christian Bale), "The Dark Knight Rises" is all about the inevitable rise of Batman long after his chosen path of self-incrimination (of Dent's murder). But with the brooding atmosphere that was frenetically sustained all throughout the film, we're not sure anymore if that rise will be all the way or will it entail a most fatal fall. And with Bane (Tom Hardy) in the villainous seat, the man we all know as the one who broke Batman's back in "Knightfall", it strongly suggests an inescapable destiny for the caped crusader. Can he save Gotham City from the terrorist clutches of Bane? Can he match Bane's brains and brawns? Or to be more exact, can he even survive it at all? 

These are the questions that Nolan (with his brother Jonathan and David S. Goyer) is more than happy to tease us with for the past year or so, and his answers embedded within this film are really more than satisfying. This is not just a superhero film anymore. It's something that walks the thin line between action and gut-wrenching drama and the result is just astounding. And although the film's first half or so is something that can be repaired a bit by better pacing and less clunky action, the film's second half has more than supplied the power that has seemingly been amiss in the early half. 

As with the performances, I believe that this is the best-acted film in the series. And although "The Dark Knight" is particularly special because of Ledger's performance (easily the best in the series), "The Dark Knight Rises" is the most emotionally draining of the three. Michael Caine's Alfred, for instance, with his controlled demeanor in the two previous installments, is a complete revelation in this film. He has both been Bruce's butler, friend and father; we saw how he has always been the calm spirit that constantly guides Bruce through confusion and psychological torment, and we saw how well-cultivated his relationship with Wayne really was in the previous films. But we have never seen their relationship as being on the line as in this one and we have never seen Alfred so emotionally fragile and elegiac ("I've buried enough members of the Wayne family"). Michael Caine certainly saved his best performance for last. 

Same goes for Gary Oldman's Gordon (my favorite character in the whole series) who, after hiding everything Dent has done and letting Batman take all the blame for the former's murderous deeds, is seemingly struck with guilt and an impulse to tell the whole truth to the city of Gotham. Even Morgan Freeman's Lucius Fox, the easygoing, technologically savvy CEO of Wayne Enterprises, is having a hard time wearing a smile here. But then again, with arguably the most iconic superhero to ever grace the screen finally reaching a cinematic conclusion of eschatological proportions, it really is hard to wear one. 

But aside from the regulars, there are also some new characters introduced: John Blake (Joseph Gordon-Levitt), an idealistic cop whose utter devotion to his work is quite reminiscent of a younger Jim Gordon, Selina Kyle (Anne Hathaway), the cunning burglar who we also know as the pun-filled Catwoman, and the mysterious Miranda Tate (Marion Cotillard), a woman who's more than interested to invest in Wayne Enterprises. And finally, there's Tom Hardy's Bane. 

We all know the burden of pressure and expectations of being a Batman villain ever since Heath Ledger took the bar sky high. But nonetheless, Hardy has still pulled off a Bane rendition that he can wholly call his own (with that peculiarly menacing accent) and can stand alone not in the shadows of Ledger's Joker but somewhere that is just as potent and convincing. 

"The Dark Knight Rises" is the final, tearful salvo of Christopher Nolan's Batman legend. And evident of the film's massively chaotic scale which, if I may say, has rendered the happenings in "Batman Begins" and "The Dark Knight" quite small in comparison, Nolan's trilogy wouldn't just go quietly into the night. It went with flying colors and with a bang. The whimper part is for us to handle. 

And with that, this trilogy is really something more. If a costumed superhero like Batman can make you shed a tear, then there's something really, really special going on. That, I think, is the case with "The Dark Knight Rises". The drama is just so multi-layered and so affecting that I couldn't care less about the special effects. This is not just a superhero film at its best. This is blockbuster filmmaking at the height of its promised power. Cheers to that.

FINAL RATING

The Dark Knight (Christopher Nolan)

Chaos.

Hell, if I can only turn back time just to experience this once again in a movie theater. "The Dark Knight", as much as I admire its greatness, is one of those rare films that I have never enjoyed that much inside the Cineplex but grew to love with each rewatch on DVD. This, I believe, is a mark of an 'epic' film in every sense. Wherever you may put it, whether it's on television, DVD, or the theaters, its greatness still and always will shine forth. This is also the great strength of "The Dark Knight" that's completely absent in other superhero films. Take out all its eye-popping visuals and you still have enough narrative, emotional weight, and pure characterizations to carry you through. Plus, unlike other side characters in other films of the same kind, "The Dark Knight" has characters that you would really care for. 

Jim Gordon, Bruce Wayne, Harvey Dent. The triumvirate that stands up for everything that's right. These are the characters that have risen and fallen in the epic graphic novel "The Long Halloween", and here in "The Dark Knight", their dynamics as complex allies have never been displayed more effectively, affectingly, and with appropriate justice. Gary Oldman, in his portrayal of Jim Gordon, blows his earlier "Batman Begins" performance in the water with his reprisal here. Christian Bale is also great by balancing torment and transcendence in his role as Bruce Wayne/Batman. 

With "The Dark Knight", Batman isn't just your 5 cent superhero anymore. Here is a superhero that does not merely thrive on apprehending killers and petty criminals anymore. This is also a man who refuses to lead a better life as a billionaire for the sake of protecting the one thing he believes he is destined to fight for: Gotham City. But he also knows that it is never easy. 

Fresh from thwarting Ra's Al Ghul's destructive plan against Gotham in "Batman Begins", he is now confronted here in "The Dark Knight" by a murderous agent of chaos known only as "The Joker" (played by the late Heath Ledger).

Now, this review is not for the sake of describing, commending and fully admiring Ledger's miracle of a performance as Batman's greatest foe. Words, as what has always been said, are not enough. There is indeed something in Ledger's legendary turn that doesn't just appeal to the mere aesthetics but somewhere deeper that's raw, ferocious, and animal. His 'Joker' provokes some sort of primal fear within us all; of some hidden anarchic inclination hidden deep inside all of us. 

For me, this is the ideal portrayal not just of the Joker but of human vileness pushed to the extremes. Unlike Jack Nicholson's earlier yet also iconic portrayal of the clown prince of crime which has relatively told a clear and very human back story for the Joker (He even had a pre-Joker name: Jack Napier), Ledger's is, as how Nolan has interpreted the character, a complete absolute. 

From his custom-tailored suit to his ever-changing origin stories regarding the scars on his face, this is a nameless entity forged out of the depths of utter abomination and nowhere else. This is one of those men, as what Alfred (Michael Caine) has unforgettably stated, who just want to watch the world topple and burn, and laugh with it. 

Now, with all that being said, we all know how great Ledger's performance really is, and it will truly stand the test of time as one of the best villainous roles ever performed. But aside from him, there's also one actor who stood out among the rest; and yes, he even outperformed Christian Bale, and it's none other than Aaron Eckhart as Harvey Dent/Two-Face. 

Being one of the most tragic antagonists in the history of comic books, Eckhart has captured the so-called 'white knight's' gung-ho ferocity as a brave district attorney yet has also gathered enough dramatic range to also be an empathetic character and a frighteningly vengeful soul. His Harvey Dent is someone you would perceive as someone who's heroic but also someone who's humanly flawed. He is for justice and for lawfulness, yes, but his Dent is also brash and subtly arrogant. Maybe what makes his character's sad transformation from being a clean-cut DA to a monstrous incarnation of confused duality even more gripping is how Dent was portrayed as an ordinarily mild-mannered man who just happens to have a healthy dose of human decency. 

Unlike Batman, he is a man driven towards the path of heroism and justice not because of some tragic undercurrents but because he is born and raised to be one. And what makes his metamorphosis even more tragic is the fact that it could and should have been prevented and also because he was never destined to be the very thing he swore to fight against. 

Destiny, duality and identity; these are the themes that Nolan's "Batman Begins" has focused on but were also re-used here in "The Dark Knight". But this time, its collective emotional effect is heightened even more that "The Dark Knight" came out not just a superhero film or merely as your typical 'Batman' film but as a massive drama about the clashing beliefs and ideological extremes that form Gotham's crumbling soul. And in the middle of it all are some spectacular action sequences that are quite reminiscent of Michael Mann's "Heat". 

In truth, "The Dark Knight" is so emotionally rich that the action seems secondary. Before Nolan, "Batman" films have always been on a crossroad of whether or not to prefer camp over seriousness and vice-versa. "Batman Begins" came and surprised us with its depth; now, "The Dark Knight" enters forth and blows us away with its emotional magnitude. From this point on, I believe that the cinematic "Batman" has already chosen a path: a path that was not chosen and never was an option before by either Tim Burton and Joel Schumacher. This is the film that the caped crusader is unconsciously asking for, and for that, he got what he wishes for, and so do we.

FINAL RATING

Batman Begins (Christopher Nolan)

Fear.

And so it has begun 7 years ago. With Joel Schumacher's "Batman & Robin" leaving a bad, almost insulting taste in our mouths, a reboot is definitely due. And what we got here in "Batman Begins" is something much more than a revisionist superhero film. Instead, it has also become the perfect blueprint for succeeding superhero films dealing with origin stories. 

It stars Christian Bale in what may be the most canonical portrayal of Bruce Wayne on film and also explores the literal beginnings of arguably the most iconic superhero of all time. But of course, what separates this film from all the other "Batman" movies of the past is its distinct visual and thematic tone. Thanks to director Christopher Nolan's patented inclination towards realism, "Batman Begins" is quite effective in keeping its feet on the ground in terms of its borderline science fiction technologies and its action set pieces yet soaring with an almost philosophical take on justice, identity and destiny. 

With Frank Miller's "Batman: Year One" serving as one of the prime bases for this film, it's almost a given that this one will indeed be a quality superhero venture. But no one has really anticipated "Batman Begins'" transcendental quality as an origin tale. 

And then of course, what makes "Batman Begins" even better and more easily involving is the presence of three (4 if you'll count Rutger Hauer) legendary actors in the form of Liam Neeson, Michael Caine and the irresistible Morgan Freeman. Looking at it, although their performances are based on pre-existing characters from Batman's established comic book universe, they are still able enough to give the parts that they're portraying the distinct trademarks of their own established personas. 

Oh, and then there is Gary Oldman, an actor that has always been on a league of his own. To be honest, I was quite excited to watch the film back then because I was intrigued when I saw Gary Oldman in the trailers. Being my typical ignorant self with little to no knowledge of Mr. Oldman's acting range outside typical villainous roles at the time, I immediately marked him to be the primary antagonist in the film. 

With Pat Hingle's Gordon still quite untouchable in my mind, it never even crossed my mind that Oldman is even remotely okay for the part. Yes, at first, I was skeptic if whether or not he's believable enough to pull off a mild-mannered and quite heroic role when he is in fact more at ease with over-the-top characters. As it turns out, it's his performance and embodiment of James Gordon that I have loved the most in the whole film. There's really something in his portrayal that evokes empathy yet also displays an unbounded sense of derring-do. This is the portrayal that Gordon deserves. This is the Gordon that we need.

As for the film's villains, well, for non-comic book readers, it will be quite difficult to grasp Ra's Al Ghul's (Ken Watanabe and someone else that I would not mention) and Scarecrow's (Cillian Murphy in an evidently insane yet subdued performance) villainous capabilities and backstories because they are not as well-known as the Joker or even The Penguin in terms of overall fictional popularity. But still, both antagonists were fleshed out quite well by director Christopher Nolan and screenwriter David S. Goyer that they came out overwhelmingly menacing even when they're not that familiar to many non-comic book readers that may watch the film.

When put shoulder to shoulder with "The Dark Knight", "Batman Begins", in truth, pales in comparison in some areas. The 2008 follow-up, for once, has a much bigger scope and also contains heavier elements of both tragedy and the strains of duality. But despite of that, "Batman Begins" will always be that one film that has forever changed the landscapes of the superhero genre and has also set the bar quite high for superhero origin stories that may follow after it. It has also paved way for the said genre to loosen its limits in terms of characterization and to embrace a sense of grit and some brooding here and there. This is the superhero origin tale to end all superhero origin tales. Hans Zimmer's masterful musical score is still playing in my head.

FINAL RATING

Tinker Tailor Soldier Spy (Tomas Alfredson)

Smile, Smiley.

In "Tinker Tailor Soldier Spy", the reality of Cold War espionage has never been as coldly depicted. It's a film that's really intended to be emotionally distant from its viewers so that it can properly highlight the alienating undertakings that Cold War master spies have undergone themselves for a great 30 years or so for the sake of information supremacy. 

One of them is George Smiley, played by the ever-chameleon-like Gary Oldman in one of his most uncanny performances in a non-villain role, a master spy who is forced out of retirement to seek out a mole buried deep within the Circus' (the jargon for British Intelligence) ranks. What follows is a tensely complex story of half-baked allegiances, harsh inner rank politics and, looking at the bigger historical picture, the futility of it all. 

Oldman, a great actor known for his nerve-racking energy on-screen, is successfully sublime and grounded with his portrayal of Smiley. Despite of the lack of human warmth in the whole film, Oldman is able enough to capture the essence of Smiley's anxious humanity without being either too brooding or self-reflective. Here is a character and a man who is motivated not by his family and forced to act not by the pressures of those around him in the service but by a seemingly obsolete code of samurai-like proportions. He is compelled to do so because he believes there's still an enormously unfinished chess puzzle of fates between him and Karla, the mysterious Soviet spymaster that is both deceptive and brutal. In a tense world whose morality and loyalty is turning ever grayer by the minute, Smiley still believes in a black and white.

But then, finding the mole is a very tricky mission. He needs to go through a lot of red tape to arrive at something. Among the ones that Smiley must monitor (as potential leakers) are Alleline (the underrated Toby Jones), the Circus chief, and Haydon (Colin Firth), a superior intelligence officer that's having an illicit affair with Smiley's wife. 

With such great actors effortlessly horsing around with their respective characters, one can easily see the success of this film as a great acting ensemble. Add up talented young actors Mark Strong and Tom Hardy in the mix as the Circus' globe-trotting pawns and we've got ourselves a hell of a film. Oh, and did I mention that John Hurt is also in it? 

But then again, with the film capitalizing on natural overall silence as if to truly simulate the quiet intrigue of genuine espionage, "Tinker Tailor Solider Spy" gets its sustaining power not just from the actors but from the very material itself. Adapted from John le Carre's novel, which I'm more than tempted in buying from our local bookstore so that I can read it first before watching this (but never did), the film has captured the nervous essence, with its pale-colored cinematography that heightens the disillusioning effect, of the reality of spying without much glitter but full of quiet power.

To be exact, I have never witnessed such an intriguing 'backstage pass' of a film ever since, well, maybe Scorsese's "Casino". "Tinker Tailor Soldier Spy" is a rare film that does not indulge on cheap thrills just so it can maintain some sort of energetic flair in its narrative. Instead, it is a film with a great fly on the wall perspective that is as compelling and as frightening as the characters that populate it and the locations that make it whole. Director Tomas Alfredson is very commendable for not going overboard on some of the characters or faltering in the story department. 

Now, if some may want to argue that "Tinker Tailor Soldier Spy" is as cold as a walk-in freezer and that it will make you want to leave the second you enter it, then the film has succeeded. Its goal is not to sensationalize or commodify the reality of Cold War espionage for the general public but to render it as a cinematic mood, and it's your choice to either accept it as it is or not. But judging from its box-office returns, it's quite obvious that the film has compelled rather than disgust, and for that, the film is utterly effective and, in some ways, vindicated. 

"Tinker Tailor Soldier Spy" may just be fiction, but in the end, it's a story worthy of being told. It makes me want to grab that gargantuan "Smiley Versus Karla" compilation in our nearby bookstore, and fast. James Bond's great antithesis has finally arrived.

FINAL RATING

Basquiat (Julian Schnabel)

Jeffrey Wright as Jean-Michel Basquiat.

It is a common practice in the film world to explore the lives of painters and artists, particularly those who lived and died by their art. Jean-Michel Basquiat is surely not an exception but rather a most definitive representation of it. He gives life and form to his countless statements through graffitis, shows his messily ecstatic but ultimately epochal visions through his paintings and evokes a new voice of artistic non-conformity by way of his creations.

But then, to counter this searing passion prevalent among artists like Basquiat, the film, directed by Julian Schnabel both with an attention to content and a slight delve into the experimental, then puts all of these into a final salvo towards self-destruction. Jeffrey Wright, one of the more impressive character actors of our time, delivers an unrecognizable performance as the title role. For roles like these, stars always have this tendency to either unnecessarily steal scenes or bury the real people they're playing in the afterthought of their very own persona. This is not the case for Jeffrey Wright. As I may describe it, his performance 'took its own form, life and time'.

His on-screen rendition of Jean-Michel Basquiat developed not through an obvious 'pen and paper'-bound emotional and psychological metamorphosis but through a more simple approach: Wright, as an actor, preferred not to merely play or portray Basquiat, but to embody him. Although he does not look like the late artist himself, Jeffrey Wright achieved to embrace the role not for the sake of showcasing some superficial acting prowess but to internally channel Basquiat as a human being. This unconscious but fruitful connection between Jeffrey Wright and Jean-Michel Basquiat was particularly enhanced by the fact that Julian Schnabel is also an artist/painter.

Considering that the artistic connection is fairly established between Wright, the mythical Basquiat and Schnabel, the film, in effect, has been much more transcendental and relatively honest in its emotional backbone and at the same time, also purer in its artistic merit.

The film's cast is great, with supporting roles by Gary Oldman, Dennis Hopper, a bit of Christopher Walken as his usual patented self playing an interviewer (this therefore completes an unofficial "True Romance" cast reunion), Benicio Del Toro as Basquiat's friend and Willem Dafoe as an electrician. David Bowie is wonderful to behold as Andy Warhol, whose facial resemblance with the enigmatic pop artist himself immensely helped in his portrayal and also added some authentic weight into his performance.

Although there were scenes that were too dormant for their own good, the film is quietly successful in almost all levels, specifically on how it was able to lift itself into a higher form of human 'drama' without accidentally spelling it out with an additional 'melo'. "Basquiat", as a biopic, is quite unique in its position. The film does celebrate the short-lived life and genius of Jean-Michel Basquiat but does not overly glorify him. The film shows his bleak self-decline but does not fully capitalize in it to exaggeratedly highlight a drama that is more than the film can swallow.

"Basquiat" is urgent in its neutrality as an observer. An observer of a man whose voice was deemed as coming from the gutters but whose art was deemed as a gift. With this middle ground stance, the film, with a great black and white look upon the short and bittersweet life of a "young black painter in a white art world", is an uncommon triumph.

FINAL RATING

Harry Potter and the Order of the Phoenix (David Yates)

'You-Know-Who'.

It has been quite obvious that the "Harry Potter" film series has gradually became darker and darker the same time when its main stars grew older and taller. This change of thematic tone is given for such a series of far-flung magical mythology because as film viewers, we can't stay with what's merely colorful and limited forever. We can't indulge ourselves with wondrous flying cars and levitating spells for a long time when there's the Dark Lord himself and some Dementors somewhere out there.

So if "Harry Potter and the Goblet of Fire" clearly is the prelude to the series' descent into narrative darkness and character complexities, "Harry Potter and the Order of the Phoenix" is the further sustenance of this said transformation of tone. Throughout the film, we see scenes completely colorized with blue, signaling an impending, higher conflict. While the characters, especially Potter himself (Daniel Radcliffe really reminds me of Keanu Reeves' acting chops in many scenes), who is drawn into a psychological torment/mind games with 'He-Who-Must-Not-Be-Named'.

Then ironically, Sirius Black, played by the ever-disturbingly brilliant Gary Oldman, whose roles of marauding villains completely overwhelm his resume, is surprisingly the lighter part of the film as Potter's father figure in the middle of an escalating tension. The previous installment, "Harry Potter and the Goblet of Fire", is a very action-packed film that was although justified in its action sequences by the mere Triwizard Tournament, translates the best into a good old blockbuster offering.

In contrast, "Harry Potter and the Order of the Phoenix" lacks the action set pieces (except the climactic but short-lived Lord Voldemort and Dumbledore duel of contradicting elements) and the overall sense of story-telling vitality save for its slowly relishing and equally unnerving build-up into an ultimate encounter.

Even the bureaucratic theme in the film is little to no significance into the film's general 'awaiting a villain's return' tone except for the fact that this little plot line summarizes the Ministry of Magic's trembling fear for the overpowering Voldemort's revival of powers. Although I have to say that I immensely liked Imelda Staunton's effective performance as the dictatorial, Trunchbull-like Dolores Umbridge.

In the long run, what will generally matter is how the franchise has ended. There are some which have finished with high and flying colors ("The Lord of the Rings" saga and the "Star Wars" sextology), but there were numerous which have ended with bitter-tasting salvos (such as "The Matrix" and Christopher Reeve's "Superman" films). "Harry Potter and the Order of the Phoenix" will surely be remembered as that middle 'Potter' film which concluded with a high-powered encounter between two powerfully opposite wizards and an installment in the franchise with lots and lots of blue. Oh, and maybe as that film that contains an 'under a mistletoe' kissing scene for our beloved titular hero.

FINAL RATING

True Romance (Tony Scott)

Into Hollywood with an agenda of their own.

Although directed by Tony Scott, "True Romance" is, from all sides, taken over by Quentin Tarantino's (who have written the screenplay along with Roger Avary) trademark brushstrokes of unrelenting references to B-movies, stylishly vulgar dialogues and killer MacGuffins. The film is also a perfect ensemble exercise of character acting, featuring such greats as Christopher Walken, Dennis Hopper, Gary Oldman and a whole lot of others.

Clarence and Alabama, whose relationship was described almost sarcastically in the film's very title, were perfectly played with the needed air of 'go for luck', 'not a care in the world', 'against all odds' romance by both Christian Slater and Patricia Arquette. Now, when I look back at the very beginning, I think that the complications ironically came from the very manifestation of love between the two itself. When I heard Alabama deliver the line 'It was so romantic' after (SPOILER) Clarence killed Drexl her pimp, they surely are in for some romantic distortions, and so are we.

It all began when Clarence, all alone in a triple billing theater watching Sonny Chiba's (used later by Tarantino as Hattori Hanzo in "Kill Bill") movies, was suddenly covered with popcorn (yes, it was THAT cheesy) via Alabama's clumsy slip. After a small talk, they went for a pie, read some comic books and, as expected, into the anticipated heat of the night.

However, it was then revealed that everything, from the initial encounter (explaining the popcorn trick) up to their sexual climax, were planned and that Alabama was hired by Clarence's boss for his birthday. But then, Alabama was guilty. They hugged each other. After the artificial fling, still, love it really was indeed.

From those basic blueprints, one can see how these initial sequences can also properly fit within the premise of a tiring mid '90s comedy romance film (an everyman falling for a prostitute with a heart). But with brash Tarantino with the pen and action stylist Tony Scott at the helm, expect this romantic idealism be unraveled, be taken down piece by piece, then be put back together. We got here a turbulent love story.

With the help of the cocaine MacGuffin and some satiric intent, "True Romance" also fearlessly entered a part of Hollywood's immoral side, the retaliative urgency of the mob and the egotism in the police division not just to serve as morally imperfect backdrops for Clarence and Alabama's romance but also to give an inexorable portrait of human desperation and the intertwining of situational fates.

And even though I think that the film's climax was a bit rushed and too 'explosive' that it almost seems out of place in great contrast to its carefully progressive, well-written narrative establishment, nevertheless, the film has delivered enough goods to be considerably well-remembered as a high-notched blazing craziness that fully belongs to both the crime and romance genre.

Oh, and you want a definition of pure cinematic gold? Take note of the Sicilian scene. Hopper and Walken on a verbal dance of fear-inducement and sarcasms. Astounding. Just astounding. And after writing this, I've stumbled upon a "True Romance" film review describing the particular scene with the same, exact word (astounding) as I've used. Oh, the beauty of appreciative coincidence.

FINAL RATING