Cape Fear
128 mins, 1991; Director: Martin Scorsese
With this film, Robert De Niro gave a new definition to ‘menacing screen presence’ in Hollywood. As a tattooed revenge-seeker for a case wrongfully won by attorney (Nick Nolte) that forces him to serve jailtime, Niro makes it his mission in life to get back at Nolte, his way. And what’s that? Stalking Nolte’s family, poisoning his dog, brutally assaulting his close friend, and sexually harassing his daughter, Danielle (Juliette Lewis). Lewis gave such a stirring portrait of a terrified victim that she was nominated for the Oscars. And so was Niro. The opening title sequences are one of the best and so is the cinematography throughout the film’s journey – the camera movement and angles get you involved with it like nothing else can. This movie aims for your gut. Definitely not a film for the squeamish.
Memento
116 mins, 2001; Director: Christopher Nolan
Watch this film for Guy Pearce’s first-rate performance and Nolan’s skill in creating an atmosphere for the story. Pearce has just one mission in life: to avenge the rape and murder of his wife. But he has a small problem. He suffers from an irreparable memory loss. Although he can remember details of life before his ‘accident’, Leonard can’t remember what happened fifteen minutes ago, where he is, where he’s going or why. This makes his job all the more difficult. This prompts him to re-build his life out of index cards, photographs, file folders, charts and tattoos. It’s intellectual gamesmanship at its best and Memento is likely to stay with you like a tattoo on your mind. Most of all, this is virtuoso filmmaking, stylistically dazzling and head-scratchingly intricate. It’s actually a puzzle movie in which the puzzle is actually worth the time and effort to solve.
L.A. Confidential
138 mins, 1997; Director: Curtis Hanson
Crooked cops. The mystery and allure of Hollywood in the ’50s. Death, double-crossing, and secret alliances. Paparazzi waiting to get that one million-dollar picture. A riveting crime story about the shadowy side of city life where things are never what they seem. All these contribute to a movie that’s unusually delicate, understated and searching – a movie that catches us up in the faded ’50s beauty of Los Angeles. The premise is simple enough. Three detectives (Kevin Spacey, Russell Crowe, and Guy Pearce) each use their own tactics to investigate a coffee-shop massacre. But this multiple homicide charge eventually becomes something much more insidious. Strong performances, an involved story and period atmosphere, with liberal doses of sex, violence, corruption and politics make this one hell of a crime drama. In fact, it’s Hollywood moviemaking at its finest- a classy piece of entertainment made with equal parts passion, style, and fun.
Seven
127 mins, 1995; Director: David Fincher
Forget the brief opening scene. Instead, watch out for the highly stylised title sequence. It’s an intricate collage of books and photos, scissors and razors, and blood and skin that eerily captures the dark, graphic tone of Fincher’s intriguing mystery. Shaky camera shots, dark sets and a disturbing script that takes its characters to the extremes of emotion contribute to the film creating an unsettled feeling that stays with you long after the credits roll. When an obese man is found brutally murdered in his home, retiring police detective Somerset (Morgan Freeman) realises this is no ordinary killing – someone tortured him because of his appetite. One killing follows another and forms a pattern. This prompts Somerset to team up with newcomer Mills (Brad Pitt) to find the mysterious John Doe, who is responsible for these murders. It’s an eerie suspense film with a surprise ending that gives you quite a jolt.