Primtime
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Reviews81
Primtime's rating
He Got Game is without a doubt one of the best films of 1998. Spike Lee's story and direction are very near flawless and the use of a symphonic score to go with a few songs by Public Enemy make the visuals all the more appealing.
If Spike Lee has the vision to make this film what it is, then Denzel Washington must be credited for making it believable. His performance is flawless as a imperfect man who has a chance to redeem himself by convincing his alienated son to play for a certain college basketball team. The story of redemption between the father and son is at times lacking, but still holds true. The scope of emotion isn't always shown by Ray Allen who plays Jesus Shuttlesworth, an amazing basketball prodigy who will one day by the next Jordan of the NBA. He shows more emotion when arguing with his girlfriend rather than in the scenes when it is really needed, like when his father returns. Allen though isn't an actor, he is a real NBA basketball player and must be credited for his performance. Rosario Dawson must also be credited for a great performance as Lala, Jesus' girlfriend. She steals all of her scenes, even those with Washington, as the girlfriend who realizes that once Jesus leaves, she will be left with nothing.
Aaron Copland's score (chosen by Lee?) also plays a huge role. The beginning basketball montage is amazing, showing the diversity of those who play and love the game. Rather than using an all-rap soundtrack like most other basketball films, the symphonic sounds make the film a lot less aggressive and a lot more heartwarming. Not to take anything away from Public Enemy's He Got Game which is used well at the end of the film.
Some have said that the sexual content in this film is too much and unnecessary. I have to disagree, since it is used to show the realism of college basketball. Those who think it is all books and study and a weekly game are right off the mark. It is a lot more drugs, sex and cars than most would realize. If anything is overplayed, it is the fact that the main characters name is Jesus. So much of the film is unnecessarily spent on determining why his name his Jesus, the pain he feels because of how he was always being bugged about his name and the whole deal about his new basketball stardom being called "the second coming of Jesus". This was too much to take and was distracting from what Lee was really trying to say.
A full recommendation for this film, even worth a DVD purchase.
8/10 stars.
If Spike Lee has the vision to make this film what it is, then Denzel Washington must be credited for making it believable. His performance is flawless as a imperfect man who has a chance to redeem himself by convincing his alienated son to play for a certain college basketball team. The story of redemption between the father and son is at times lacking, but still holds true. The scope of emotion isn't always shown by Ray Allen who plays Jesus Shuttlesworth, an amazing basketball prodigy who will one day by the next Jordan of the NBA. He shows more emotion when arguing with his girlfriend rather than in the scenes when it is really needed, like when his father returns. Allen though isn't an actor, he is a real NBA basketball player and must be credited for his performance. Rosario Dawson must also be credited for a great performance as Lala, Jesus' girlfriend. She steals all of her scenes, even those with Washington, as the girlfriend who realizes that once Jesus leaves, she will be left with nothing.
Aaron Copland's score (chosen by Lee?) also plays a huge role. The beginning basketball montage is amazing, showing the diversity of those who play and love the game. Rather than using an all-rap soundtrack like most other basketball films, the symphonic sounds make the film a lot less aggressive and a lot more heartwarming. Not to take anything away from Public Enemy's He Got Game which is used well at the end of the film.
Some have said that the sexual content in this film is too much and unnecessary. I have to disagree, since it is used to show the realism of college basketball. Those who think it is all books and study and a weekly game are right off the mark. It is a lot more drugs, sex and cars than most would realize. If anything is overplayed, it is the fact that the main characters name is Jesus. So much of the film is unnecessarily spent on determining why his name his Jesus, the pain he feels because of how he was always being bugged about his name and the whole deal about his new basketball stardom being called "the second coming of Jesus". This was too much to take and was distracting from what Lee was really trying to say.
A full recommendation for this film, even worth a DVD purchase.
8/10 stars.
An American in Paris is a showcase of Gene Kelly. Watch as Gene sings, acts and dances his way through Paris in any number of situations. Some purely majestic, others pure corn. One can imagine just what Kelly was made of as he made this film only a year before "Singin' In The Rain". He is definately one of the all time greats. It is interesting to look at the parallels between the two films, especially in Kelly's characters, the only main difference being that one is based in Paris, the other in L.A.
Some have said that Leslie Caron's acting was less than pure. Perhaps Cyd Charisse, who was originally intended for the role could have done better, however Caron is quite believable in the role and has chemistry with Kelly. Oscar Levant's short role in this film gave it just what it needed, someone who doesn't look like Gene Kelly. Filling the role as the everyman isn't an easy task, yet Levant did it with as much class as any other lead.
The song and dance routines are all perfection. Even the overlong ballet at the end of the film makes it a better film with it than without. Seeing that there really wasn't much screen time to make such a loving relationship believable, Minnelli used this sequence to make it seem as if you'd spent four hours with them. Ingenious!
I would have to rate this film up with Singin' since it is very similar in story and song. Singin' would barely get the nod because of Debbie Reynolds uplifting performance.
Full recommendation.
8/10 stars.
Some have said that Leslie Caron's acting was less than pure. Perhaps Cyd Charisse, who was originally intended for the role could have done better, however Caron is quite believable in the role and has chemistry with Kelly. Oscar Levant's short role in this film gave it just what it needed, someone who doesn't look like Gene Kelly. Filling the role as the everyman isn't an easy task, yet Levant did it with as much class as any other lead.
The song and dance routines are all perfection. Even the overlong ballet at the end of the film makes it a better film with it than without. Seeing that there really wasn't much screen time to make such a loving relationship believable, Minnelli used this sequence to make it seem as if you'd spent four hours with them. Ingenious!
I would have to rate this film up with Singin' since it is very similar in story and song. Singin' would barely get the nod because of Debbie Reynolds uplifting performance.
Full recommendation.
8/10 stars.
Aronofsky's debut shows the kind of potential he has as a director. Seeing what he did on a shoestring budget is a reminder of what Spielberg did with his debut in "Duel". Pi seems to have a very interesting plot as the film starts, however, sets off in the wrong direction thereafter.
The story surrounds the discovery of a man named Max, a genius mathematician who spends what seems like all of his time on his computer looking for a pattern in numbers that none of his predecessors could find. Eventually Max comes upon these numbers in what seems to be a fluke situation and from here on in, he begins his downfall. Max is the victim of violent headaches as a result of staring at the son when he was six-years-old. The fact that this was thrown into the plot seems unnecessary and really has no effect on the film. I believe that Aronofsky should have just left these violent headaches to his unending desire to figure out the patterns.
Up to this point, the film goes well until unnecessary third parties are thrown into the equation. The choice of stock brokers and ultra-orthodox jews aren't most people's idea of the bad guys in film (try substituting these groups for villains found in any action film and you'll see what I mean). One scene involving Max being dragged into the car by the Moses-like beards that comprised the religious group is funnier that most Saturday Night Live skits even though it isn't meant to be.
Aronovsky chooses to use these new catalysts to drive Max crazy quicker. Sticking to his obsession with numbers would have been more effective and probably a lot more interesting since these groups are not at all menacing.
The use of grainy black-and-white film was a nice touch here. It really helps to show that there is no cohesiveness in Max's life and how unimportant he would be if someone else got there hands on the number. The ending is also very satisfactory, tying up the film the best way possible. Sean Gullette's performance as Max is also very believable and quite gripping. Without Gullette, this film would be nothing as his emotions are what really keep it going.
Can't wait to see what Aronofsky has in store.
7/10 stars.
The story surrounds the discovery of a man named Max, a genius mathematician who spends what seems like all of his time on his computer looking for a pattern in numbers that none of his predecessors could find. Eventually Max comes upon these numbers in what seems to be a fluke situation and from here on in, he begins his downfall. Max is the victim of violent headaches as a result of staring at the son when he was six-years-old. The fact that this was thrown into the plot seems unnecessary and really has no effect on the film. I believe that Aronofsky should have just left these violent headaches to his unending desire to figure out the patterns.
Up to this point, the film goes well until unnecessary third parties are thrown into the equation. The choice of stock brokers and ultra-orthodox jews aren't most people's idea of the bad guys in film (try substituting these groups for villains found in any action film and you'll see what I mean). One scene involving Max being dragged into the car by the Moses-like beards that comprised the religious group is funnier that most Saturday Night Live skits even though it isn't meant to be.
Aronovsky chooses to use these new catalysts to drive Max crazy quicker. Sticking to his obsession with numbers would have been more effective and probably a lot more interesting since these groups are not at all menacing.
The use of grainy black-and-white film was a nice touch here. It really helps to show that there is no cohesiveness in Max's life and how unimportant he would be if someone else got there hands on the number. The ending is also very satisfactory, tying up the film the best way possible. Sean Gullette's performance as Max is also very believable and quite gripping. Without Gullette, this film would be nothing as his emotions are what really keep it going.
Can't wait to see what Aronofsky has in store.
7/10 stars.