De Niro and Scorsese May "Paint Houses"

According to an article in Variety, Martin Scorsese and Robert De Niro may re-team for their first film together in over a decade.

Screenwiter Steven Zallian (Schindler's List, Gangs of New York, American Gangster) is adapting the book I Heard You Paint Houses by Charles Brant. The book tells the true life story of Frank "the Irishman" Sheeran, who is reputed to have carried out more than 25 mob murders, supposedly including Jimmy Hoffa's.

De Niro would play Sheeran and Scorsese is rumoured to direct. This film would be their ninth collaboration, following Mean Streets, Taxi Driver, New York, New York, Raging Bull, The King of Comedy, Goodfellas, Cape Fear, and Casino.

If this gets pulled together properly, I'm so jazzed. Not only does this mean one of the best collaborations in film would get one more shot, but it also means we all might be spared Meet the Little Fockers or Meet the Doggie Fockers or whatever piece of shit comedy De Niro wants to do next.

The Graysons

According to Variety, the CW network is preparing a TV series based on the early life of the original Robin, Dick Grayson.

This is from the article:

Just as Smallville focused on Clark Kent in the years before he became Superman, The Graysons will follow the world of Dick "DJ" Grayson before he takes on the iconic Robin identity and aligns himself with Batman.

Okay, first things first. You know what Dick Grayson was before he was Robin? A carny. No one wants to see a show abou carnies (sorry, producers of Carnivale, but I'm right). He was also eight years old. Smallville worked because, even if Clark wasn't wearing the costume, he was still frickin' super. Dick Grayson without training and gadgets and whatnot is........a kid.

The article doesn't comment on whether they're going to follow the comic book continuity and have "DJ" (which is possibly the only name more asshole-like than using the traditional "Dick") be part of a family of circus acrobats. It also seems to intimate that "DJ" (nope, still fucking lame) will be a teen.

So, if it's a teen show, what makes it different than 90210 or Gossip Girl or any other lame-ass teen show? If they make "DJ" (god, I 've gotta stop) fight crime or kick-ass, then why the hell does he even need Batman?

End result: It sounds lame. Lamer than even Smallville sounded when it debuted. By the way, I've never watched that show either.

The Top Ten Films of the Decade - The 1970s

I'm continuing on with the listing of my top ten films of each decade, going all the way back to the 1920s. We've already covered 1990s and the 1980s, and today we're going to look at a decade which many consider to be the last truly great period of American film. This was definitely one of the toughest eras to whittle down to a top ten.

The 1970s

10 - Manhattan - Directed by Woody Allen - I know, I know, Annie Hall is the more popular film. It's certainly easier to watch than this film, which focuses on the lives of bored entitled pseudo-intellectuals. However, Manhattan achieves a wider scope because it savagely comments on a group of people that previously were the heroes of his films; intellectual, well-off, over-educated New Yorkers. At the same time, however, the film is more nakedly romantic and more visually self-assured than any of his previous films. It's the first of Allen's mature works.

9 - A Clockwork Orange - Directed by Stanley Kubrick - A Clockwork Orange is simply one of the most courageous films ever made. As a commentary on morality and free will, it does the unthinkable; it makes us sympathetic to, and even root for, a brutalizing and sadistic rapist and murderer. Anchored by Malcolm McDowell's frankly astounding performance, the film retains its freshness and relevancy decade after decade. Strip away the furor from most controversial films, and you're often left with nothing at the core, but this film remains one of the most singularly original cinematic experiences.


8 - Taxi Driver - Directed by Martin Scorsese - Three artists at the peak of their powers (Robert DeNiro, Martin Scorsese, and screenwriter Paul Schrader) combine to tell the twisted story of cab driver Travis Bickle, the definitive "lone nut". Bickle is a ticking time bomb of rage; a sociopath looking for some way to escape what he sees as a morally bankrupt and hopelessly corrupt society. What's remarkable is with how many people his viewpoint connects. It's all too easy to view the world as Travis does, which is part of what makes his story so compelling. He's a man disconnected from other people even though he's surrounded by a multitude, and his only response is violent, bloody explosion.

7 - Star Wars - Directed by George Lucas - Such is Star Wars' importance to American film that Hollywood can be divided as being pre-Star Wars or post-Star Wars. No matter whether you think that's a good thing or not, you cannot deny that experiencing the film in a theatre is an amazing thing indeed. A combination of ancient myths, pulp sci-fi, movie serials and the cutting edge of visual effects, Star Wars redefined what blockbusters could be and raised the bar for high-flying adventure and spectacle.

6 - The Conformist - Directed by Bernardo Bertolucci - A case study on the effects of fascism and repression, The Conformist is also one of the most visually beautiful films ever made. The cinematography by Vittorio Storaro moves into the realm or art itself. The central story is of a man with a conflicted sexual and class identity who is so desperate to conform in Fascist Italy that he sacrifices all of his values to attain normalcy within the state.


5 - Cries and Whispers - Directed by Ingmar Bergman - It is like no other film he made before, but Cries and Whispers is one of Bergman's great masterpieces, a tale of two sisters watching over a third while she dies of womb cancer, helped by a servant woman. It is a wrenching, horrifying examination on death, love, passion and tenderness. It's a difficult film precisely because it gives no escape from its relentlessly tragic subject matter, but one achieves a sense of peace at its end.

4 - Network - Directed by Sidney Lumet - Lumet was at the top of his game here, and was aided by a script by Paddy Chayefsky, one of the greatest screenplays ever. It's outrageously, cruelly funny in its satire of television and media, although as time has gone on, it has become nearly prophetic. The performances are all top notch, and Lumet's understated direction is a perfect match for the script's wild humour. The comedy, however, never overwhelms the fact that there is an extremely serious story going on here; the main conflict is for the human soul, which is in danger of being swallowed up by the various forces of the modern age. It now has the feel of a warning that was sadly ignored.

3 - Chinatown - Directed by Roman Polanski - This great neo-noir serves as a dark comment on the disillusionment of the common man in the face of modern injustices. Private Eye Jake Gittes is haunted by his past as a cop in Chinatown, a place where one could never be sure of allegiances or motives and where crimes could not be prevented or even investigated because the society itself was too alien. When he becomes involved in a massive crime involving the very pillars of Los Angeles, he is confronted by horrific corruption that he will not be able to ever bring to light. The final line, "Forget it, Jake, it's Chinatown" serves to reinforce the idea that the common man is ill-equipped to battle the entrenched forces that control his world.

2 - The Godfather Part II - Directed by Francis Ford Coppola - Like its predecessor, this sequel surpasses its rather turgid subject matter in every way. It continues to elevate the story of the Corleone family to Shakespearean levels as it focuses on the downfall and loss of humanity of the central character of Michael, played with incredibly skill by Al Pacino. Beautifully shot, exquisitely paced, The Godfather Part II is an absolute, unqualified masterpiece.

1 - The Godfather - Directed by Francis Ford Coppola - It's a mob movie crossed with King Lear. The film combines old Hollwood with the modern sensibilities and desire for experimentation of the fillmakers of the era. It's immensely rich in performances, containing some of the best acting in American film. It is not only the best film of the decade, but may be one of the best films in the history of American cinema. What more is there to say?

Back soon with 1960s!

Heroes, Heroes, Heroes...

...when will you be good again?

For those of you that care - S P O I L E R S ahead.

So, I remember watching the first season of Heroes on DVD. It was great. The concept was cool, especially to comic geek like myself. The characters were interesting and their relationships will well-defined. The soap opera stuff was done well, and served to deflect some of the rampant comic book geekiness. My wife loved it as much as me. At the end of each episode, we would pop in the next disc, sometimes watching far into the night. Heady days.

Then Season 2 happened. It was disappointing, no doubt about it. But I offered up a lot of excuses. The writer's strike was my big excuse; I thought it threw everyone off, trying to cram in a worthwhile story with fewer episodes. I also often expect trouble in second seasons. That's when TV shows have to work their hardest; the concept isn't new anymore, the initial conflicts between characters are often resolved and have to be redefined, etc.

Well, this season? So far, it sucks. Sucks hard. Here are my complaints:

- Hiro and Ando are doing the exact same thing they always do. In Season 1 - they went on a quest and provided comic relief through their bumbling, but ultimately heroic and scrappy, efforts. They are doing the exact same thing now, except you think they would have gotten better at this after a couple years, so they just seem like idiots. And by the way, how did that speedster know exactly when Hiro was going to open that safe? And why can she move when Hiro stops time? Isn't time stopped regardless of how fast you're moving?

- Future Peter. Fuck, I hate Future Peter. He takes over Present Peter's body, but hides his mind inside a psychopath's body? What? Then he frees Present Peter to take him to the future, but leaves Noah tied up at the mercy of a bunch of criminals. It's not like he would have had to do anything too strenuous....they were all right in the same room as him!

- Time Travel. How many times are the writers going to go to this particular well? By my count, Peter's been involved in time travel at least three times, and Hiro does it all the time. By the way, Hiro's gone to the future and seen the world blow up at least twice.

- Sylar's a Petrelli? Really? Really!!?? This actually made me angry, since it's such a hackneyed, artificial, bullshit storytelling trick, and came from nowhere.


I like the whole Niki/Tracy thing, as that at least seems to be a genuine mystery, and is an ingenious way of killing off a character without losing the actress. But that's it. It better pull itself together soon, or I'm a-gonna walk.

Rest in Peace - Paul Newman

Some sad news today, legendary actor Paul Newman has died at the age of 83 following a battle with cancer.

He will be missed, but he has left behind a staggering body of work. There's no better way to remember him than by putting on your favourite of his films. Me? I think I'll be watching The Verdict. Or Butch Cassidy and the Sundance Kid.

"Hey, Kid, next time I say let's go someplace like Bolivia, let's go someplace like Bolivia."

The Top Ten Films of the Decade - The 1980s

I'm continuing my top ten lists from the 1990s all the way back to the 1920s.


The 1980s

10 - Raiders of the Lost Ark - Directed by Steven Spielberg - There have been many action films in the last twenty-five years or so, and a lot of them are very good indeed. But there is only one adventure film that tops them all, and that's Raiders. Simply put, no other action film since 1980 has been as much fun and as well-constructed as this. This film has supported three more films of ever-shrinking effectiveness, but our enjoyment of this perfect adventure is such that it can easily shoulder three lesser sequels. It's the best film of its type since Gunga Din, and as Indiana Jones, Harrison Ford delivers an iconic, truly great performance.

9 - Blade Runner - Directed by Ridley Scott - Completely unappreciated upon its release, subsequent rejiggering of the film back to its original vision has revealed a masterfully intelligent and complex science fiction story that has influenced every film of the fantastic since. It's a landmark of visual effects and style as well as being filled with great performances, especially those by Harrison Ford and the wonderful Rutger Hauer.

8 - The Empire Strikes Back - Directed by Irvin Kershner - With a strong director at the helm, a screenplay written by two masterful writers (Leigh Brackett and Lawrence Kasdan) and darker, richer story matter, Empire succeeds in doing the impossible; it's a sequel that's better than its predecessor. There's simply a better story to tell this time around, one full of foreboding, angst and big emotions. It's almost shocking how downbeat its ending is.

7 - Do the Right Thing - Directed by Spike Lee - He had directed and released two films prior to this, and had made a small splash, but it's with this hand grenade of a film that Spike Lee truly exploded to the top ranks of American filmmakers. A searing and incendiary study of race relations, Do the Right Thing not only was among the most polarizing and original films of the decade, but it also helped to open the door for a host African-American filmmakers. It's a shame that Lee has never quite risen to this height since.



6 - Crimes and Misdemeanors - Directed by Woody Allen - You either love his movies or hate them, but if you love them, few writer/directors can match the exquisite richness of Woody Allen. He makes films about adults and about large, complex themes. He makes films about realtionships; our relationships with the world, each other and ourselves. Crimes and Misdemeanors is one of the best examinations of morality ever made in America. When Woody is bad, he's truly awful, but when he's good, he's the most sublime of storytellers.

5 - Wings of Desire - Directed by Wim Wenders - Please, please, please, ignore the truly interminable American version titled City of Angels. Wings of Desire is the real deal. It follows two angels as they invisibly roam Berlin, observing the lives of humans. Filled with heartbreaking imagery and wonderfully touching moments, Wings of Desire is one of those films that gets inside you, even if its pace and lack of incident makes it a challenge. It's a challenge well worth taking.

4 - Au Revoir, Les Enfants - Directed by Louis Malle - Louis Malle wrote, directed and produced this moving and heartfelt semi-autobiographical look back at gowing up druing the brutal days of Nazi-occupied France. Malle tells the story of a boarding school and the bond of friendship between two boys, one of whom is Jewish. Both sweet and nostalgic as well as harrowing and tragic, it may be the best coming-of-age film ever made, and it's got some stiff competition out there.

3 - Ran - Directed by Akira Kurosawa - The great Japanese master may have been close to the end of his life, but during this time he produced several films that brilliantly showed he had lost none of his passion, innovation or skill. Ran ranks with the classics he produced during his heyday; a meditation on chaos, the futility of will, and the absence of God. Far bleaker than any other film he made, it was partially based on King Lear, and its complexity, combined with its supremely confident visual style, makes it a masterpiece.

2 - Fanny & Alexander - Ingmar Bergman - In a long career filled with masterpieces such as Wild Stawberries, The Seventh Seal, Cries & Whispers and Scenes From a Marriage, this film could very well be his greatest. It's the story of the Ekdahl family, specifically Fanny and her brother Alexander. Dealing with Christianity, repentance, authority, the paranormal and of course, existentialism, the film succeeds in being both magical and realistic. A certifiable original by one of the true geniuses of cinema, Fanny & Alexander is an amazing experience regardless of which of the many different cuts you see (go for the 312 minute version - that's the fullest one).

1 - Raging Bull - Martin Scorsese - The story of real-life boxer Jake LaMotta, Raging Bull is a tough, uncompromising story of one man's rise and fall and subsequent hard won redemption. LaMotta, played by Robert De Niro in his greatest performance, is depicted as a sensualist so plagued with personal demons that he is almost reduced to the level of an animal. Made following Scorsese's near death after years of self-destructive behavior, it's one of the most rawly visceral films ever made, shot with an incredible visual flourish in rich black and white. Combine this visual flair with De Niro's incendiary performance and one of the best screenplays ever and you get not only the best film of this decade, but one of the best American films ever made.

The Top Ten Films of the Decade - The 1990s

Here at the Nerd Report, I've tried to resist spouting off too much. I personally don't like the pontificating film geek, and that may be because, well, I am one. Anyway, I thought it would be fun to list my top ten films for each decade going all the way back to the 1920s.

This list can't help but be subjective, so you may think I'm missing out films or placed some films too high or whatnot. If so, comment on it, I'll be happy to discuss. Hopefully you'll notice a few films here that you haven't seen before, and seek them out. Lists made by other people have done this for me, so I'm just paying it forward (Pay it Forward is not on any best of list, by the way. Terrible flick).



The 1990s

10 - Eyes Wide Shut - Directed by Stanley Kubrick - Okay, some people consider this film to be a mess, unworthy of being the final masterwork by one of cinema's most innovative geniuses. I disagree. I'm not sure how much of the film actually "happens" in a real sense after Nicole Kidman's character makes the fateful admission to her husband (Tom Cruise). The film, from my point of view, is a dream that turns into a nightmare for Cruise's character; a dark journey through a marriage that has to hit rock bottom before the couple can reach a level of honesty about themselves. A final, confident, haunting masterpiece.

9 -All About My Mother - Directed by Pedro Almodovar - Almodovar has long been considered one of the most consistently brilliant filmmakers around, and also one of the best directors of women ever. He called this film a "screwball melodrama", and that's a wonderful way to describe this touching, hilarious and deeply emotional tribute to mothers, actresses and women in general. It's his most accomplished and evenly balanced triumph.

8 - Saving Private Ryan - Directed by Steven Spielberg - Opening with a harrowing and brutally realistic depiction of the carnage during the storming of the beach at Normandy, this film then moves into a quieter, more subtle story of a group of soldiers being sent to rescue and retrieve one private near enemy lines. Although some accuse Spielberg of being manipulative and sentimental, there's no denying the power of this film, or its ability to leave you stunned and emotionally drained at its conclusion. A brilliant meditation on the value of a single life.

7 - Chungking Express - Directed by Wong Kar-Wai - A crossover hit that introduced Wong to world audiences, it is a bold announcement of a singular, exceptional talent. The film is made up of two stories, each a romance involving longing and seduction and told with incredible style and panache. A singular accomplishment and seamless melding of high style and big emotions.

6 - Goodfellas - Directed by Martin Scorsese - The fact that this film lost the Best Picture Oscar to Dances with Wolves still makes me crazy, as it's probably one of the most assured and enjoyable films ever made. What more can you say, except that if you haven't seen it, you're missing out.

5 - The Player - Robert Altman - After a decade of middling to terrible films, Altman roared back to life with this cynical black comedy about the movie business. In a way, Altman's old tricks (virtuoso camera moves, overlapping dialogue, a large and varied cast) seemed fresh again as he took everything about Hollywood that was reprehensible and poured it into one character; Tim Robbins' morally bankrupt and paranoid studio exec. One of the best black comedies ever.

4 - Three Colors : Red - Directed by Krzysztof Kieslowski - The final part of the Three Colors trilogy is often cited as the best. I personally prefer Blue but only by a smidge. The almost unbearably luminously beautiful Irene Jacob portrays a woman who becomes involved in the reclusive life of a retired judge who electronically eavesdrops on his neighbours. Like all of Kieslowski's work, the film is focused on human relationships and how mysterious and absolutely necessary they are, and of course, it is one of the most gorgeous films you'll ever see.

3 - Three Colors : Blue - Directed by Krzysztof Kieslowski - The first part of the triliogy is the one I find the most powerful and memorable of the three (If you're wondering where White is, well, if I could put eleven films here, it'd be here). Juliette Binoche (another unbelievably beautiful actress) portrays a woman almost devoured by grief following the deaths of her composer husband and her small child. There is almost no other film that so successfully and brilliantly integrates imagery, emotion and music to produce a truly wonderful and touching experience.

2 - Pulp Fiction - Directed by Quentin Tarantino - Now that we've grown accustomed to his style, Tarantino has been derided by some as a hack who is more of a mash-up artist, stealing imagery, tone and plot details from other sources, than a true filmmaker. That view misses the point; what he is is the first of a new type of filmmaker, and he's still the most bold. With its non-linear storyline, shocking violence and dialogue that allows characters to reveal everything while talking about nothing, it's important to remember how completely original and fresh Pulp Fiction seemed. It was simultaneously a punch in the gut and a breath of fresh air to audiences, making it perhaps the most innovative and influential film of its generation.

1 - Schindler's List - Directed by Steven Spielberg - Both Kubrick and Billy Wilder had attempted to make the definitive Holocaust story during their careers, but only Spielberg, the master entertainer and supreme mainstream craftsman, had the proper touch. It's three hours of riveting, harrowing, blindingly forceful filmmaking. And if it strays too far into sentimentality at times, it hardly matters, for the vast bulk of the film contains some of the most powerful moments you'll experience as an audience member.

See you soon for the 1980s!