Tuesday, July 8, 2014


Dear Film Tome Travelers,

Last week I launched a new website, Cineflect. For all intents and purposes it will be replacing all my previous posting efforts and curating duties involved with The Film Tome. There are a multitude of reasons for this change, all of which have or will result in a better experience for myself, all affiliated and anyone who reads/listens/watches. While I will no longer be posting new content to The Film Tome, I am keeping the blog alive as record and library. There is a lot of information and analysis here to sift through.

Below is a large excerpt of the Welcome page on Cineflect:

"There are countless websites devoted to cinema and any of its alluring branches. Perhaps you already have a few or a few too many that you visit for all your film knowledge needs. I know I do. One thing I have noticed about practically all of them is the endless onslaught of news and rumors of news. It can get noisy, cluttered and overwhelming. At the end of every Twitter-filled day my head is left spinning about what came out and who said what. In an attempt to have a place of clarity and focus I have set up Cineflect.

My primary aim is to deliver deep and meaningful content in the most simple and visually-relaxing way possible. Everything from the main navigation to the color tones are designed to that end. Furthermore, the content is not a quick-and-dirty post aiming to meet a quota or serve as click bait on a slow news day. In fact, here at Cineflect, news is the least of our worries. We care about film, first and foremost, as an artform and an evolved method of storytelling. It is never "a slow news day" when you have the whole history of cinema at your disposal.

This is not to imply we will lack relevant or timely posts. As cinephiles we are aware of what is going on around us and we cannot help but address the pertinent issues of our day and the exciting movies of our time. But we will focus on what is out in the wild and available for your consumption as well as ours. There are enough sites with the latest production stills and press releases. They do a good job at that. Let’s leave them to it while we have a conversation about what films we have actually seen.

In 2010 I launched The Film Tome, my blog about movies. Since then I have updated it with hundreds of posts. I have spent countless hours researching, writing and assembling those posts. Very rarely did the service I was using publish or present the content in a manner that I found aesthetically pleasing. It was a long and frustrating endeavor, a passion project with a significant stumbling block between myself and the reader. I am a bit somber, quite proud but mostly relieved to seal The Film Tome. Without The Film Tome, Cineflect would not be possible. Yet without it I feel my true vision coming closer to fruition."

I thank you for your readership and encourage you to stay connected at Cineflect.

J.S. Lewis

Sunday, June 15, 2014


Curator's Note: This list examines ten of the greatest father-son relationships I have ever seen in film and is an updated version of the same list I did a couple years back. Remember how Mr. Ollivander used the word "great" in the first Harry Potter film? He spoke of the doings of He-Who-Must-Not-Be-Named, Ollivander said he did "great things, terrible, but great." Keep that in mind. Many of these relationships are not the ideal, far from it. That could be its own list someday (probably on another Father's Day). If you are looking for best dads that you as a father could pattern your life after, there are several choices on this list that aren't what you're looking for. Besides, just go watch To Kill a Mockingbird. Atticus Fitch is all you need to be.

That said, I believe we can learn just as much (if not more) from "bad" examples as we can from "good" examples. What I appreciate most is that many of these dads are not all bad. In fact, I'd argue that each of them have an instance where they show compassion on their sons. On the other hand, some of these fathers are great examples to emulate. I seem to be speaking primarily about the fathers in a list about "father-son relationships" and that is because they do have the upper hand. Only a few of my choices feature adult sons. One choice shows the son as a boy (or cub rather) and then shows him growing up and grown up. Oh, and three of the films feature father-son fishing trips. That's probably of some importance to note.

What you might not find making my list: There are several family relationship films, with a father-son dynamic therein among many others. Again, that's another list entire. I am focusing on films that are primarily about a father-son relationships. Of course, other family members are sometimes present, but the prevailing spotlight is on the patriarch and his son. Also, there are some great father-son moments such as in The Empire Strikes Back when a certain Vader tells a certain Skywalker that he is his certain someone. I am looking for the films that have many moments or, rather, explore that relationship throughout the entirety of the picture.

Finally, as a disclaimer, I may delve into some spoilers in my examination. Consider yourself forewarned. I will try to be a tactful about it though, you won't see me giving away plot twists of Shyamalan caliber.

And so, without further ado, I am proud to present "The Top Ten Father-Son Relationship Films":

* * *

10. Indiana Jones and the Last Crusade (1989)

After two previous adventures we deserved and were ready to meet Indiana's daddy. Surely none of us knew how fantastic Sean Connery would fit the bill! From the opening flashback we see the stark difference between the two, which sets up the awkward reunion between the two years later. It become most delightful how they work together to fight the Nazis (son's braun and dad's brain). You may remember the scene in the hotel room with the guards where Henry Jones affectionately calls Indy "Junior" after which our hero disposes of said guards, looks his dad in the eyes and retorts, "Don't call me Junior!" The film goes some fantastic places where Indy must remember what his father taught him in order to save him. And oh, what a final shot!

9. There Will Be Blood (2007)

Remember how I said this list did not necessarily denote a positive relationship? Perhaps no other entry needs this disclaimer more than P.T. Anderson's revisionist epic, There Will Be Blood. Daniel Plainview (in a performance for the ages by Daniel Day-Lewis) adopts P.W. (Dillon Fraesier) after his father is killed in a mining accident. The boy is used by Mr. Plainview as a means to appear as a "family man" to appeal to the owner's of property he plans to buy up. In addition to being a family man, Plainview is an "oil man" and is ever bent on expanding his land and worth. Later in the film, Plainview confesses that he hates most people. 

I dare say Plainview is not all bad. How could you think that after the scene where he rescues his boy from an accident on the oil rig? The shot where he holds that boy in his arms and realizes what he will have to live without is affecting like few instances in cinema are. The film skips forward in time twice, a decade or more each time. What Plainview and his son went through in these undisclosed periods is entirely up for speculation. After analyzing each third that we do see, we find the descent within. A man who lost love and found ambition. The last act is heartbreaking and serves as a cautionary tale. Some dads are not as fortunate as the likes of Jimmy Stewart's George in It's A Wonderful Life. What if the Clarence never came to save the day? You'll realize that sometimes there will be blood.

8. The Lion King (1994)

If I did a "Top Ten Greatest Father-Son Names," Mufasa and Simba would surely be in the running. Well, they also make it into the relationship list despite an utter lack of screen time together. In this Disney epic, we see the young cub grow to become a spitting image of his father and restore the balance to his rightful kingdom, the Pride Lands. Few films (animated or not) are as gut-wrenching as when Mufasa is killed during the stampede or as meaningful as when he revisits a grown Simba in the night sky.

I remember the scene (pictured above) where Mufasa shows his cub the Pride Lands. It dawns on Simba that someday it will all be his. It is a lot for a young one to realize. There is another beautiful scene between the two when Simba asks his father, "We're pals, right?" It is Mufasa's example and Simba's diligence that enable the circle of life to continue. Both father and son are the film's title role of the Lion King.

7. The Return (2003)

After a mysterious 12-year absence, he has returned. He is the father of brothers Andrei and Ivan. He is a stranger. As soon as he shows up he takes his boys on a fishing trip. Is he trying to make up for lost time? Or does he have a different agenda altogether? Yes, they have suspicions, but they also have a void in their lives from a father who was never there. His sons watch him carefully and so do we. Each interaction between the two parties is unforgettable. This Russian masterpiece leaves a lot of questions on the table. One interesting discussion you can have after watching is whether or not he is a "good" father.

6. The Place Beyond the Pines (2013)

No film I saw last year impacted me quite like The Place Beyond the Pines. After the closing credits I could not immediately get up from my seat, it was as if some immense pressure was weighing down upon my shoulders. No, I don't need to go to a doctor. What I felt was the fear of putting on the mantle of fatherhood and the immense intimidation with which that future chapter of my life holds. 

There are a few sets of fathers and sons in this film but what this relationship epic showcases are the consequences that fall from the backs of the fathers and rain down upon the heads of their sons. This story spans decades (something the marketing luckily did not give away) and is able to explore areas most films never venture to. Another conversation you should have after seeing this film is who the better father ultimately is (in regards to the Ryan Gosling and Bradley Cooper characters). 

5. Bicycle Thieves (1948)

Vittorio De Sica's neorealist masterpiece has a simple plot: Antonio (Lamberto Maggiorani) gets a new job as a poster hanger in penny-pinching post-war climate of Italy, which requires him to bike all over town. His first day on the job, his bicycle gets stolen. Antonio and his son, Bruno (Enzo Staiola), look for the bicycle. One curious scene has the father treating his son to a feast after an unsuccessful search. They both know and we all know Antonio simply cannot afford such luxuries. It is almost as if a Last Supper. We pity their situation from beginning to end and someone in Italy apparently does too. Few films show us the realistic hardships of daily life and how hard some will try to stay standing. Antonio is desperate to succeed in his son's eyes, which makes the end all the more emotional.

4. Life is Beautiful (1997)

The life of one Jewish family in central Italy is turned upside down when the Nazis invade their city. The first half of he film focuses on how lovely and how fun they made their lives before the war. The last half focuses on the father Guido (played by writer/director Roberto Benigni) and how he desperately tries to not let his his little boy know that there even is a war. The horrors of a holocaust camp might be the setting for much of this film, but Guido does all that he can to ensure Giosue that, even in the worst of circumstances, life is beautiful. Giosue represents innocence that Guido is determined to prove can never be lost. Their relationship was something the cruelest tyrants could not even take away.

3. Magnolia (1999)

Magnolia follows the frantic lives of eleven residents in the San Fernando Valley. Within this indigent near-dozen are two father-son pairings, both in dire need of healing. 

Earl Partridge is on his deathbed, dying slowly and painfully of liver cancer (I've spent some time with a man suffering from the same ailment and could not fathom his agony), his last wish is to speak with his son once more before he passes on. "Who's your son?" his saintly male nurse asks. "Frank... Frank T.J. Mackey" is the old man's reply. His nurse is shocked for adequate reasons. Frank T.J. Mackey is a infamous misogynist swine whose TV ads for his program "Seduce and Destroy" alienates the chaste and pure. Getting him back to reunite with the man who walked out on a young T.J. and his sickly mother won't be easy.

The other relationship is found in Rick and his son Stanley. Rick's boy is a child genius who spends most of his waking hours in the library, reading from a mountain of books. I'd wager he probably dreams about books too. Rick has brought his son to be on the popular TV game show, What Do Kids Know?, where he selfishly treats his son like a prized horse in a race, a means to riches and fame. Is his son any more than an object to him? We learn by the end that kids actually know quite a lot.

When Frank T.J. Mackay (in a incredible performance by Tom Cruise) finally makes the visit to the father he hasn't seen in years and years the result is a heart-aching reunion. Tears are to be found on the screen and off. The hate is so strong, like a metal coat that we wonder if T.J. can rid himself of. Few instances truly capture how difficult forgiveness can be. The final scene between Rick and his little Einstein leaves you hoping they don't end up like that someday.

2. A Goofy Movie (1995)

"It's hard to be cool when your Dad is Goofy" reads the film's tag-line. Max has nightmares that he will grow up to become like his father. Goofy has daymares that unless he rescues his son from his rebellious stick-it-to-the-man lifestyle, Maxy will end up in the electric chair. When school lets out for the summer, Goofy fatherly-forces (a legal form of intense coercion) Max to go on a road trip. The only place Max wants to go is Los Angeles to see Powerline in concert, but Goofy is determined to take his son on a fishing trip to Lake Destiny where he used to go with his own father. We get the iconic scene of the two fighting over the radio station. Their tastes in music are representative of so much more. It is only fitting then that in this "Disney musical," after a near-death experience and all hope seems lost, the father-son who have nearly literally hit rock-bottom begin their way back up by serenading us with "Nobody Else But You." Did I mention this was a musical?

The son realizes the father has made great sacrifices and planned the whole road trip as a means for bonding. The father realizes his son is an individual and deserves attention and activities better suited to his interests. The two become a force to be reckoned with and help Max out of a predicament he gets himself into earlier on. The Goofy Movie is a goofy movie, but speaks so many truths. Fathers and sons, different as they are, must strive for understanding if they want to get along. This becomes especially important during a son's teenage years. To paraphrase what a wise man once told me, sons are still warm clay at this point. Fathers, be carefully what you press upon them. Sons, let your fathers teach you.

1. The Road to Perdition (2002)

"There are many stories about Michael Sullivan. Some say he was a decent man. Some say there was no good in him at all. But I once spent 6 weeks on the road with him, in the winter of 1931. This is our story." What the boy doesn't tell us in the film's opening lines is that Michael Sullivan, played with remarkable restraint by Tom Hanks, is his father. We join the story just before said six weeks, where we meet Michael Sullivan, a man dedicated to being both a husband/father to his family and a enforcer for the Irish mob. Early on, Michael is told by his Mob boss (brought to fruition in one of the late great Paul Newman's final performances) that sons were put on this Earth to trouble their fathers. Michael and his boss - a stand-in as his own father figure - perform a piano duet together at a funeral of one of their own. What kind of gangsters are these?

When his son, Michael Sullivan Jr. in an involved child performance by Tyler Hoechlin sees something he should not have, the father takes his son on a road trip for safety of their lives. During the six-week-flee, among other things, Michael teaches his boy how to drive a car. Why? To help him rob banks, though it turns out more differently than you'd think. The seedy underworld Mr. Sullivan has gotten himself mixed up with proves a challenge to part with. The road to Perdition, a town that becomes a destination for the two, is one with losses. Consequences rain upon the father and then drizzle onto his son. 

The Road to Perdition is a morose tale, but teaches us to look for the good in the grim and learn from the errors of our fathers. When you think that all fathers are also sons, you realize what the Mob boss said is just. We are all troubled and have brought a degree to each other. The film ends as it begins, with a voice-over by the son: "I saw then that my father's only fear was that his son would follow the same road. And that was the last time I ever held a gun. People always thought I grew up on a farm. And I guess, in a way, I did. But I lived a lifetime before that, in those six weeks on the road in the winter of 1931. When people ask me if Michael Sullivan was a good man, or if there was just no good in him at all, I always give the same answer. I just tell them... he was my father." 

* * * 


Real life father-son Will and Jaden Smith were a fantastic duo in The Pursuit of Happyness, which just missed my cut. They teamed up again last year for After Earth, a very different outing but a pertinent one nonetheless.

I seriously considered Like Father, Like Son, the latest film by Japanese master Hirokazu Koreeda. It's the story of two sons who were switched at birth and the drama this stirs to both families who are told about this mix-up a decade later. Despite the title it's largely a family affair and so it didn't quite meet my criteria. Fantastic film though!

The lengths to which Marlin, a simple clownfish all too familiar with loss, will go to find his only child is downright touching in Pixar's Finding Nemo

Also, the film adaptation of Cormac McCarthy's The Road revolves around a father and his son struggling to survive in an ashy post-apocalyptic wasteland. It is a bleak tale, but the love the father has for the son and the son has for the father (who are "each the other's world entirely" as the author put it) remains the only source of goodness left. John Hillcoat's film deserves a mention, but the literary masterwork it is based on deserves a read.

* * *


I have an unsettling feeling that I overlooked some serious candidates. As with any Top Ten, if you feel I am guilty of a glaring omission, please let your voice be heard in the comment section below. Thank you for visiting The Film Tome and Happy Father's Day to all you dads out there, especially mine.

* * *

Tuesday, June 10, 2014



This is a middling documentary about the digital age we’re now in and how it has completely changed the human mind over the last decade. There’s an array of insights that can easily lead to pertinent conversation points after the film. DSKNECTD would be more pertinent itself if it widened its scope beyond California and made up its own sometimes “closed” other times “open” mind.


* * *


From the director of Iron Man and Cowboys & Aliens comes a film about a cook (played by director Jon Favreau himself) looking for a job after a fight with a food critic results in his termination. It’s a far cry from characters saving the world from impending doom but the result is my favorite of Favreau’s films that I’ve seen, go figure. A rich cast that would make Woody Allen bat an eye act out notable realism through strong local flavors.


* * *


This is the first official sequel to Ishirô Honda’s original cinematic vision of Godzilla and appeared in Japanese movie house just a year later. The film is strongest during the stretches of spectacle only losing steam whenever the meddling humans reconvene. There’s odd joking among them that feels especially out of place with the impending destruction of their city. The bookended sequences on Godzilla’s island and the rumble at Osaka Castle are incredible if occasionally suffering from “man-in-suit syndrome.”


* * *


Forget Godzilla (2014), How to Train Your Dragon 2 is the big lizard movie of the summer! DreamWorks Animation picks back up their epic of vikings and dragons (with names like Hiccup and Toothless) and shows just how effective a sequel can be. Enormous entertainment and emotional weight make this nothing short of a masterpiece.


* * *


Even if the box office doesn’t quite declare it, Tom Cruise is still a blockbuster star and I gladly welcome him adding another sci-fi scalp to his belt. The time-loop premise is one audiences are well versed with and creates a surprising amount of humor for a film on the edge of humanity’s demise. There are some incredible set-pieces attached, but I found myself losing the battle as the film resorted to less impactful scenarios.


* * *


For every bland vampire flick made Stateside it seems we’re privy to a novel offering from overseas. Rigor Mortis continues that trend with an action drama steeped in Chinese customs and Hong Kong’s own distinct history of vampire* films. (*They use the term interchangeably with “zombie” and it’s a different breed of beast than what Western audiences are accustomed to.) This film shows just how formidable the undead are. Thankfully the residents (and the actors playing them) of the towering apartment wherein the entire film is set are well versed in their ways.


* * *


More like “that awkward script.” Three of America’s more capable leading men in their 20s (Zac Efron, Miles Teller and Michael B. Jordan) play three friends at various stages in their post-college, skirt-chasing lives. (This could actually be a sequel to Neighbors if Efron’s character managed to get a better job and become less funny in the process.) It’s rote and it’s saccharin and “You’re an idiot” is a favorite response for multiple characters. Despite this, the three leads along with Imogen Poots and Mackenzie Davis make each scene pass by with approval even if the film should be forgotten as a whole.


* * *


It’s “Mr. Smith Goes to Shinbone” is one of American legend John Ford’s final films. This (Anti-)Western weaves a tale within a tale that’s not about how the West was won but converted. James Stewart, John Wayne and Lee Marvin play familiar roles, each a differing definition of “man” that in turned defined and altered American history.


* * *

Drawing connections and conclusions on last week’s recently beheld

No film exists in a vacuum, nor should it. I am partial to discussing wherein any given film exists in the history of cinema, a filmmaker’s portfolio, its country of origin’s output, as part of a particular film movement or merely in acknowledgement, reverence or contradiction to a previous film(s).

- The Man Who Shot Liberty Valance has its place at the tail end of Ford’s long career of definitive American experiences. His two most famous Westerns (Stagecoach and The Searchers) are hearkened by John Wayne’s involvement alone.
- Rigor Mortis is the most recent entry in Hong Kong’s vampire sub-genre, a finale as much as a starting point for those who don’t know Mr. Vampire from Nosferatu.
- Godzilla Raids Again (and How To Train Your Dragon 2) is a direct sequel, hence the title. One of its most compelling scenes is when a council watches footage of Godzilla’s first attack (literally a sequence taken from the first film). The film also introduces the idea of other kaiju, something nearly every sequel and reimagining played with.
- Try reading a review of Edge of Tomorrow that doesn’t mention other films (especially Groundhog Day and Aliens). I’d love to read one if it exists.

* * *

Seen any of these films? What did you see last week? Please feel free to share your thoughts or your own recently beheld in the comments below!

Also, see what else I've seen this year in my Letterboxd diary.

Friday, June 6, 2014


CineFile: general film geekery

The new Tom Cruise vehicle Edge of Tomorrow hit theaters today! It’s a blast and plays with the conventions of time-travel in some very clever and truly cinematic ways. My co-worker at Fandango MOVIECLIPS cut together this “Deja-Vu Mashup” which pairs Tomorrow with the Bill Murray classic Groundhog Day. Both films essentially feature their protagonists stuck in a loop of living the same day over and over… and over. Thus, the pairing and juxtaposition of these two films presents some wonderful similarities and connections. Other time travel or otherwise mind-bending films are added to the mashup for good measure. Enjoy, though it might mess with your head a little bit!

What did you think of the mashup? Have you seen Edge of Tomorrow? Share your thoughts in the comments below.

Thursday, June 5, 2014


Directed by Dave LaMattina & Chad Walker

"A documentary about Caroll Spinney who has been Sesame Street's Big Bird and Oscar the Grouch since 1969. At 78-years-old, he has no intention of stopping." After the inspiring and educational likes of Being Elmo: A Puppeteer's Journey we're eager to meet another artist beneath the iconic character.

Written and Directed by Gabriel London

"When a legendary escape artist comes up for parole after 30 years behind bars, a chance for freedom must be weighed against his infamous past." This documentary sits us down with Mark DeFriest, a man who earned a reputation as the "Houdini of high security prisons" after some 18 elaborate escape attempts. Sometimes all you need for a successful documentary is a fascinating subject, but The Life and Mind of Mark DeFriest also employs graphic novel-like animation in lieu of standard reenactments.

Written and Directed by Dave Boyle

"A stranger in the increasingly strange city of San Francisco, Japanese crime novelist Aki is unsure of precisely what role she has to play in a real-life murder mystery." Man From Reno stars Ayako Fujitani and Boyle-favorite Hiroshi Watanabe. Prolific character actor Pepe Serna co-stars. Boyle's previous films also center around the lives of Japanese-Americans, albeit through a comedic lens. We're eager to see this writer/director try his hand at a mystery thriller.

Written and Directed by Hossein Amini

"A thriller centered on a con artist, his wife, and a stranger who try to flee a foreign country after one of them is caught up in the murder of a police officer." This is the feature-length directorial debut for Amini, the screenwriter behind The Four Feathers and Drive. The Faces of January boasts an exciting cast with Kirsten Dunst, Viggo Mortensen and Llewyn Davis himself, Oscar Issac.

Written and Directed by Bong Joon-ho

After threatened cuts and disheartening delays Snowpiercer will finally be on U.S. screens as the opening night film of the festival! "In a future where a failed global-warming experiment kills off all life on the planet except for a lucky few that boarded the Snowpiercer, a train that travels around the globe, where a class system evolves." The film is a joint production between South Korea and the United States. The cast includes Chris Evans, John Hurt, Tilda Swinton, Ed Harris and Bong-favorite Song Kang-ho. For us in the States this is the first time to see the film as the exciting Korean auteur intended.

Curator's Note: Plot descriptions courtesy of IMDb and LAFF.