June Jokefest Day 1: Airplane! (1980)

So, as I've said time and time again, I love comedy, in all forms, especially movies and TV. So, why not dedicate a whole month to the art of making people laugh? I know I've talked a lot about some very funny films (and Rat Race), but now I'm taking the whole month of June to talk entirely about comedy. It's a real passion of mine, so I'm going to do it justice as best I can. So enough with the introductions, let's get this show on the road.

And what better way to start June Jokefest than with a film often considered one of the funniest ever, Airplane! I'll admit, I was actually skeptical about this film before I saw it. It had this huge reputation, and I honestly doubted it could live up to my expectations. I mean, everyone calls it one of the funniest movies ever, so it was hard not to feel this way before I watched it. And then I actually sat down to watch Airplane!, and I have to admit, it didn't just live up to my expectations, it surpassed them.

It's hard to actually know what to say about this movie, not just because of it's fame, but because of how much focus is put on the insane amount of jokes it throws at you. I mean I could explain the plot, in which a war veteran has to fly a plane when most of the people aboard fall ill, but it's not a plot driven film, instead focusing on doing everything it can to get a laugh out of the audience. As I said, it's actually kind of difficult to talk about Airplane! in too much detail, because it's full of so many gags, and it's hard to discuss without spoiling the jokes, but I will say that the sheer variety of jokes in this movie is insane. Visual gags, puns, innuendo, wordplay, slapstick and all of the parody. All of it. The movie parodies... kind of everything, but it's mainly a spoof of films like Airport, and especially Zero Hour.

 I think that Airplane! works so well as a parody because of it handles it's tone. The acting in this films is completely 100% serious, which works so well with how batshit crazy and stupid the script is. It's this combination of stern faced delivery which wouldn't be out of place in the films that Airplane! parodies, and the escalating absurdity of the jokes that just makes it work so well. Nothing is out of bounds here: the movie is ridiculous enough to do pretty much anything, and it works. The movie's utter stupidity becomes this unique style that rarely fails to get a laugh. Almost every joke hits the mark and very rarely do they fall flat. This film also nails it's running gags. Every time one is used, it never feels repetitive, and the writers always find a way to make it work. 

It's not perfect though. Ignoring the simplicity (which I'm fine with, after all, it's not a plot driven film), there are aspects of Airplane! which don't really work for me. For instance, the two leads are so bland. Look, I know it's not the point of the film, but I don't remember anything about these two outside of their names. It's not like the other characters were exactly forgettable or anything either, Leslie Nielsen, Lloyd Bridges and Peter Graves are all great in their roles and really stand out to me, but I find it hard to get invested in the characters of Ted and Elaine. Don't get me wrong, they're well acted (by Robert Hays and Julie Hagerty) I guess, but the characters themselves are one dimensional and actually pretty boring. Again, it's not the point and it's all about the jokes, but still, I'd at least like to see them fleshed out a little more. Also, not every joke has aged too well. They're great for the most part, but some gags do show their age.

As it stands, Airplane! has earned it's legacy. Any problem I could find with the film doesn't change the fact that it's an outstanding piece of comedy, one that's endlessly creative in the sheer amount of gags it throws at you. I mean, it deserves it's reputation as one of the funniest movies, and while I wouldn't call it my favourite comedy (foreshadowing), it's still one I have a huge amount of respect for, one which I feel has made an indelible impact on comedic filmmaking as we know it, and one that everyone should see at some point in their lives. Look, it's not perfect, and I stand by my complaints, but the fact is, this film is hilarious, and that overshadows any flaws it has. If you haven't seen Airplane!, drop everything and do so now. There's a reason why it's as acclaimed as it is, and surely you'll enjoy it.

My Thoughts On- Rat Race (2001)

Okay, so let's talk guilty pleasures. You know what I'm talking about, those movies you know aren't great, but enjoy regardless. Everyone has one (or more), and mine happens to be the 2001 comedy film Rat Race. I'm a huge fan of comedy in general, and I love me a good comedy movie. Many of my all time favourite movies are comedies, and I think there's definitely an art to making people laugh. And hell, so many comedy movies are timeless classics. Rat Race, is not one of them. I'll acknowledge it now, this isn't art. It's not even actually that good. So why am I talking about it? Well, because I can, and because I find this movie absolutely fascinating. So, for those unaware, what is Rat Race? Well, think It's a Mad Mad Mad Mad World, but make it even stupider, and you honestly wouldn't be a million miles away. An eccentric millionaire sets up a game, where six groups of ordinary people race to a locker in Silver City, New Mexico, which contains 2,000,000 dollars, That's it. The meat of the film comes from the characters, and the batshit crazy situations they find themselves in. The plot's simple, but hey, good comedy really doesn't need a good story, it just needs to be funny. And it is... for the most part. But more on that later. For now, let's talk plot.

As I said earlier, Rat Race's plot is thin, but not terrible. The movie puts a lot of focus on coming up with creative scenarios during the race portion, which makes the ending kind of out of nowhere. To spoil, every character has a sudden change of heart, and they all donate the money to charity. In a movie full of out of nowhere contrivances, this one is just so jarring. The jokes are minimal, and it's a universally out of character moment for everyone. I wouldn't even mind, but it's in a film full of assholes who'd do anything for quick, easy money, so it makes no sense that they'd give it all away. The tone shifts too, which makes it even more out of place. Seriously, why is this how the movie ends?

That aside, the plot divides itself into seven, with each one focusing on each one of the characters. This makes the plot hard to discuss, as problems I have with one story, don't really carry over to other stories. I love that it is an ensemble cast, don't get me wrong, but damn, is it hard to analyze. Speaking generally, I like the plot, as scattered as it occasionally is. It's fun, it's stupid, and it's always on the move. It's not a plot based movie, it can afford to focus more on it's jokes. And speaking of it's jokes...

Holy Basil Fawlty does this movie throw out a whole load of jokes. Do all of them hit? No. Some are too low brow, some too stupid, and some just not funny. The ones that do work though, work because they're over the top, spontaneous and just so off the wall ridiculous that you have to laugh. Runaway hearts, Hitler's car, hot air balloons, crazy squirrel women, helicopter chases and a bus filled with Lucille Ball impersonators are just some of the things that this movie throws at you. It's stupid, but creatively so. You can't help but watch as the movie gets increasingly more ridiculous. It's not subtle, hell, it's not always even funny, but it's always throwing more and more at you. It's a movie that just does not stop, and it's pretty spectacular. Some of it will undoubtedly make you groan, but hey, some of this stuff actually works pretty well. One scene involving the aforementioned runaway heart, a dog, an electric fence, Newman from Seinfeld and Mr Bean in particular is absolutely hilarious. Yeah, the jokes are hit and miss, and incredibly silly, but that's part of the charm.

And then there's the cast. John Cleese, Rowan Atkinson, Whoopi Goldberg, Breckin Meyer, Seth Green, Wayne Knight, Cuba Gooding Jr., Vince Vieluf, Jon Lovitz, some really funny, talented people are in this movie. And though I wouldn't call this any of their best work (except maybe Vince Vieluf, he hasn't really done anything too great), I will say that there's this kind of satisfaction off seeing all of these people run wild, and bounce off each other in the process. Some of them are admittedly better than others (Rowan Atkinson as Enrico Polini in particular is just perfect), but they all work well at being terrible people to each other, which is pretty much what the movie is. The cast plays off each other pretty well actually, doing what they can with the script. It's not career defining stuuf, but it's actually alright for what it is.

So, Rat Race seems.... good, I guess. Why am I calling it a guilty pleasure of mine? Well, it sucks.Yeah, it's not good. Obviously I see some good in it, otherwise I wouldn't have made this post,  but this movie really isn't all that good. Lazy writing, cheap jokes, one dimensional characters (Enrico Polini notwithstanding), over reliance on gross out humour and physical comedy, it just isn't well made. Now, you can argue two things. First, it's a comedy movie, it's not going to be art. That is something to take into consideration, however, so many comedies are great because of the care and effort put into them. They can still be stupid, but they can be intelligently stupid, stupid, but well written and generally well crafted. Grossout humour can even be done well if you know what you're doing. Comedy can be well made and low brow, hell, Mel Brooks made a career off of low brow, crass, and stupid humour, and did it well. But Rat Race isn't well made. It throws everything at the wall, and yes, some of it sticks and works and is funny (see above), but so much of it isn't. So much of it falls flat and dies incredibly quickly.

The second point you can argue, a point which is harder to counter, is that it was made by Jerry Zucker, who made movies like Airplane! and Top Secret! and Ghost... for some reason... I guess that one isn't relevant. My point is that Zucker has made movies like this. Rewatching Airplane!, you'll notice that it too isn't that well made, but succeeds because of it's phenomenal script and perfect comic timing. Rat Race lacks both of these things, for the most part. It's not really Jerry Zucker's best work, but it's hard to say "this movie sucks because it's stupid and poorly made, but THIS MOVIE? It's great! it's stupid and poorly made!" without sounding redundant. The failing is in the script. You can't get it right all the time, I guess.

So mediocre performances, a poor script, great set pieces and Newman from Seinfeld make this kind of shit movie into the ultimate guilty pleasure for me. I acknowledge that it's bad, but I have a soft spot for it. I admire it's creativity, premise and Rowan Atkinson, but ultimately, it's lazy script, poor direction and generally terrible characters drag it down big time. I'm not recommending this movie at all, but if you're curious, give it a watch. Honestly, it's harmless, and hey, I've watched this movie more times than I care to admit, but I guess that's why it's a guilty pleasure.

The Vault #8- What We Do in the Shadows (2014)

Director: Jemaine Clement and Taika Waititi
Starring: Taika Waititi, Jemaine Clement, Jonathan Brugh

I'm not too sure how to talk about this movie. For one, it's a mockumentary. And as awesome as they can be (which is very), they can also be quite hard to analyze in a review format, which is why I have instead decided to attempt to sum up my thoughts on this movie in a slightly different way than I usually would. In that, I'm just going to give you my thoughts on it. See what I try to do in The Vault is talk about the best movies I've seen, ones that I think are essential, but here you're just going to find my thoughts on a very odd film. As such, I'll probably spoil several aspects of this film in summing up how I felt about it. So, anyway, what did I think of What We Do in the Shadows?

This film is one of the most inventive and creative horror comedy films I've seen in some time. What We Do in the Shadows is a mockumentary about four friends living in a flat in New Zealand. And they all happen to be vampires. And one thing I loved about the film is the cast of characters. All of them are likable, memorable and feel surprisingly real. The film follows the events that lead up to The Unholy Masquerade, a massive ball for the vampires, witches and zombies of New Zealand. Like all good mockumentaries, What We Do in the Shadows doesn't feel like a piece of fiction. I mean obviously it isn't real, but it proposes a world where it could be. It's about the four main protaginists learning to function in everyday 21st century life. I mean, when your vampire film opens with the characters arguing over who's going to clean the dishes, you know that you've made a winner right there. It does feel natural, mainly thanks to the performances. The dialogue is very real feeling and very natural. And it's that very real feeling that not only makes this film so funny, but also gives it a strong emotional edge that never takes away from the laughs and is never in your face. The movie's not just funny, it can be sweet, or melancholic, or awkward, and it always feels genuine. The vampires in this film feel like real people, and that's what makes everything even funnier. That they aren't just vessels for jokes. They're relatable, and realistic, and so unbelievably awkward.

This of course leads to so many moments in this movie that I can point out as highlights. Like when Viago accidentally bites into a woman's main artery, causing blood to spill everywhere, or the encounter with a group of werewolves (not swearwolves) in the middle of the film. It's these phenomenally awkward moments that not only make the film hilarious, but also surprisingly sincere. I love how every character actually feels like they exist, they're not just typical vampire archetypes (okay, they are, but it illustrates just how these characters would function in the 21st century, and that's still awesome). Another thing that adds to how great the movie is is the existence of characters like Jackie, Nick and Stu. Each of these characters provides a fresh perspective on vampyric life, being one of the vampire's familiars, a newly turned vampire and a normal human respectively. It really adds to the documentary feeling that the filmmakers were going for. It's the likability of these characters and  the natural way that the scenes play out that make this film so hilarious and endlessly creative (particularly the dinner scene and ensuing chase. Seriously, try to watch that scene without laughing). There's such an easygoing and even improvisational feel to the dialogue and acting that I can't help but love it. It's funny in a way that a lot of comedies aren't, and that's pretty awesome.

It's charm is also pretty apparent. All of the characters are so socially inept that you just have to love them. Viago especially just has this innocence to him that you can't help but root for him, and the ending where he finally turns the woman that he's been following for years into a vampire is incredibly satisfying. The ending as a whole is actually pretty good actually. It works from a writing point of view, but it also fits with what the movie was going for.

 I will admit something though. It's pretty much one of the only mockumentaries that I've seen. Yeah, I haven't even seen any of Christopher Guest's films or even This is Spinal Tap. Trust me though, I'm going to do everything in my power to correct that. This movie is absolutely fantastic, and definitely one of the funniest, most original and overall best films I've seen this decade. It isn't perfect, the plot isn't exactly complex and well written, there aren't any massive character arcs and the structure is far from conventional, but you can put all of those things down to it's documentary-esque style, and considering that's done so well here, none of those things even effect the film that much. I'm not even joking, What We Do in the Shadows was so inventive and just so wonderful, and undoubtedly one of the best films in recent memory. Seriously, go check it out. It's a pretty strange, yet also pretty wonderful experience. It makes me want to go out and get more into mockumentaries, because if this is anything to go by, the genre really has a lot to offer.

The Vault #7- High Noon (1952)

Director: Frank Zinneman
Starring: Gary Cooper, Grace Kelly, Lloyd Bridges

Let's talk about tension. In theory, it's not too hard to make something thrilling or intense. Just provide an interesting conflict, a character you can empathize with, an air of uncertainty, and maybe a set piece or two. That said, there's definitely an art to tension. And few pieces of film do it as well as High Noon. It's a simple premise. A murderer gets out of prison, and travels to a town to kill the marshal who put him away. The same day, the marshal gets married and gives up his post. The killer is coming to the town at noon. As I said, it's quite a simple idea. But what makes this film great is that, rather than run or hide, Marshal Will Kane, played by Gary Cooper, chooses to stay and stand his ground. That means more than you might think. See, Kane tries to get the townspeople he spent most of his life protecting to stand by him and help him fight. But one by one, they start to turn their backs on him, ultimately leaving him alone to fight against the four men coming to kill him.

It's actually fairly easy to make a concept like this so tense despite it's simple plot progression. The film takes place over about two hours, and it slowly builds and builds towards the fight. It doesn't have any massive plot twists or even too much of a focus on plot in general, instead focusing more on building up to it's incredible climax. What makes High Noon so tense is that the odds Kane has to overcome are massive, and as everyone turns on him as the film goes on, the situation starts to feel more and more desperate. This really helps in creating some seriously intense buildup, and when the climax does come at the end of the film, you feel so attached to Will Kane that you can't help but root for him. And it avoids the usual clichés of the invincible hero by having Kane feel so isolated and alone. During the last fight, Kane could die at any minute. You know that he probably won't, but the film is so immersive that honestly, it feels like he just might. It draws you in with this incredible atmosphere, and as each minute passes the tension becomes more palpable, but also more painstaking. This is what makes High Noon so thrilling. It forgoes a complex and ever changing story because it honestly doesn't need one. The whole film is set up in the first ten minutes or so, and the rest of the movie is spent following this one man and seeing how he's going to deal with this massive conflict that he has to face. It's so simple, but it's also just magnificent in it's execution.

Another thing I love about High Noon is the character of Will Kane. In many respects he's dry, jaded and cynical. But he's also so ineffably brave, and tenacious, and despite the fact that the whole town completely abandons him, he stays and fights regardless. Why? Because he knows that he has to. He understands that there is no other way. He knows that he has to fight, no matter the circumstances. And ultimately, he does fight. Not for glory, or to protect the townspeople, but purely to protect himself. It may sound cowardly, but it's actually quite the opposite. Knowing that he has to fight, and realizing that nobody will fight alongside him, Kane does what he has to do, he fights regardless. I'm not going to dive too deeply into the actual final battle itself, because of several things that happen in the story, but the way High Noon actually ends feels like a perfect way to resolve Kane's arc throughout the film, and though his actions were criticized at the time, honestly I really think that his character comes full circle in the end. It's actually quite bittersweet, but it works well because it isn't a 100% happy ending. Kane isn't automatically the town's hero, but at this point, he doesn't care. He gets what he wants in the end, regardless of anyone else.

It is quite hard to talk in depth about High Noon, because it's actually very simple. It's absolutely fantastic, don't get me wrong, but at the same time, there really isn't much to it. Again, there doesn't need to be for it to be good, but so much of this film is the experience. I can sit here and write about the tension in this movie and what makes it so, but honestly, you're better off just watching the movie. Because it's so suspenseful and tense and thrilling, it needs to be seen to be believed. The tension comes from the simplicity, unlike something like Vertigo (or anything by Hitchcock really), where the tension comes at a steady rate due to twists and developments in the story. No, High Noon is one of those cinematic experiences that everyone should have, one that's so tense and so uncertain and ultimately so powerful. As I said, me trying to describe the movie seriously doesn't do it justice, it seriously just needs to be watched to be fully appreciated. Also that soundtrack. Damn that's good music.

The Vault #6- The Grand Budapest Hotel (2014)

Directed by: Wes Anderson
Starring: Ralph Fiennes, Tony Revolori, Saoirse Ronan

I love Wes Anderson's films, and while The Grand Budapest Hotel isn't my favourite of his films, it's certainly one of his stronger ones. It's pure Wes Anderson, and I mean that in the best way possible. For those who don't know Wes Anderson's work, his films so incredibly stylized in every aspect, from the cinematography and set design, to the writing and soundtrack. All of his films are made in this distinct and instantly recognizable way, and almost all of them use their quirkier aspects to address and explore darker themes. And The Grand Budapest Hotel is no different. The film centres around Zero, the lobby boy of The Grand Budapest Hotel, a prestigious resort located in Nebelsbad in Zubrowka. Basically, the film is about Zero's close friendship with the hotel's concierge, Monsieur Gustave H, who's accused of a crime that he didn't commit. The films then follows the two as they try to clear Gustave's name. The plot of this film is undoubtedly strange, but it's also one that only Wes Anderson could have pulled off, or at least done in this way.

Anderson's style is front and centre in the film, arguably more so than any of his previous works. The script is so unconventional and odd, but also absolutely fantastic. The dialogue is strong in this film. It makes the film, giving it this unique but endearing edge, but it never gets in the way of what matters, the relationship between the two main characters. The friendship between Gustave and Zero is so well done. Wes Anderson struck a perfect balance with these two. It always fits in with Anderson's style, but never once does it feel insincere. Fiennes and Revolori have this magnificent and incredibly strange chemistry. They bounce of each other in this strange but utterly satisfying way. Their relationship is the film's strongest and perhaps most important aspect. The film is at it's best when it's just them talking. As I said before, Anderson's style never gets in the way of the relationship between the two leads. It's a hard thing to do, but Wes Anderson excels at injecting his style into the simple aspects of every day life, like friendship in this case. The strength of the characters is massively helped by the absolutely wonderful acting. Not just from Fiennes and Revolori, but from the entire cast. Saoirse Ronan, Adrien Brody, Edward Norton, F. Murray Abraham, they're all fairly great and incredibly charismatic.

The film absolutely oozes Wes Anderson. The cinematography is some of the best I've ever seen, and is just beautiful. The use of colour gives the film such a delicately elegant feel and the soundtrack is so distinct and so wonderful. There are so many shots in this film that are so visually rich and well filmed, and the lack of CGI is so welcome in this day and age. Seriously, practical effects need to make some sort of a comeback. I'm not anti CGI, but sometimes it's better to go practical. Where was I again? Oh right, the cinematography. Colour is incredibly important in film, and Wes Anderson understands that. Every shot in this film looks like a piece of art. It's exquisitely filmed and absolutely beautiful.

So, overall, is The Grand Budapest Hotel Wes Anderson's best film? In my opinion, no. I mean, that says more about what an amazing director Anderson is than anything else, because even if it isn't his best, this film is still phenomenal. The story's great, the dialogue's sharp, the acting's incredible, the film looks amazing, the soundtrack is fantastic, the relationship between Zero and Gustave is great, and like all of Wes Anderson's films, it isn't without it's more poignant and thought provoking moments. It's not as dark as The Royal Tenenbaums, or as tender as Moonrise Kingdom, but I feel like it fall somewhere between the two. It's a perfect embodiment of Wes Anderson's talent as a director, and considering that it's his eighth film overall, I think it's pretty clear that Anderson has honed his style perfectly by this point. I mean, it certainly is not for everyone, Wes Anderson's style could potentially alienate some viewers, but you know what? That's really the only thing I can fault this film on. It's charming, tightly scripted and beautifully made. It's definitely one of my favourite films from one of my favourite directors.

The Vault #5- The Truman Show (1998)

Directed by: Peter Weir
Starring: Jim Carrey, Ed Harris, Laura Linney

I'm going to be honest, I honestly do like Jim Carrey as an actor. He's a pretty funny guy, but honestly I much prefer him when he's actually acting. My two favourite films that he's in are Eternal Sunshine of the Spotless Mind, and this film, The Truman Show. This movie has a very odd concept, and one that I think could easily have become a gimmick, but the film's superb writing honestly makes it quite a poignant and though provoking watch. The Truman Show is about, a man who's entire life is a TV show, with everything that's ever happened in his life controlled by Christof, the series' showrunner. The film follows Truman as he begins to realize his reality, and tries to escape it. I really like this idea, and I especially love where it goes as the film progresses. As I said before, it could have been a gimmick, but it's used in such a way where the film goes deeper than you'd honestly expect. It's not a pure comedy film, though it does have it's lighter moments. Truman slowly coming to realize what his existence means is fascinating to watch, and though the film starts great, it really comes together as it goes on. It starts to focus more and more on the emotional and moral implications that come with this idea, and it's so satisfying. A lot of people have talked about the philosophy of this film, and I might too one day, but for now, what makes The Truman Show work with such a strange concept?

As I said above, I love Jim Carrey in this film. He really is great as Truman Burbank. He's able to really convey the emotions that come with this scenario, There are moments in this film where just by his face, you can tell exactly what he's thinking and going through. And as he starts to question his existence more and more, Carrey continues to sell what Truman's feeling perfectly, and often subtly. The emotion in this film isn't shoved in your face most of the time, which better allows you to feel what Truman is feeling. I won't give away the ending, but there's this incredibly tragic moment where everything goes wrong, and everything that Truman, and by extension the audience have been feeling throughout the film finally comes full circle, resulting in such a powerful and sad moment, which leads into an ending which is probably one of the best endings I've seen any movie have. It's truly spectacular.

Another thing that this film does really well is the satire. I love any movie that parodies the entertainment industry, and The Truman Show is a great spoof of TV, particularly reality TV. I love how it parodies so many tropes used in television, such as one character's 22 year absence being explained with amnesia, or wonderfully unsubtle product placement. The satire is funny and sharp, but it strengthens the story and concept of the film. The Truman Show acknowledges the dodgy moral implications in having one person's whole life be a TV show, but it also points out the positives. The film even opens with it's creator explaining why a show starring a real person is a good thing, and what it does for the audience. Throughout the film, we constantly cut to the audience watching Truman's life, completely invested in what happens to him. It's strange that not long after this movie came out, there was this huge surge of reality series that were obviously fake. The show itself has such a devoted fanbase, who watch the series just to watch Truman's life, as a way to escape their own. And just like with the concept, the film addresses why this is strange and unhealthy, but it also acknowledges that people can take comfort in knowing that who they're watching is a real, thinking person, someone who they know isn't reading a script. It never really states whether the idea of The Truman Show itself is a good or bad thing. Even the ending of the film feels less like commentary, and more like a true conclusion to the character of Truman.

Is it perfect? No. There isn't anything wrong with it per se, but it really isn't for everyone. I could see the concept, tone and writing rubbing a lot of people the wrong way, but honestly I love this film. It's clever, it's thought provoking, it's touching, it's everything I wanted from a film with this plot. It does it's concept justice and is just a great, and thoroughly satisfying watch. It's not for everyone, but The Truman Show is one of my favourite films of it's decade. So, good morning, and if I don't see you, good afternoon, good evening and good night!

The Vault #4- The Warriors (1979)

Director: Walter Hill
Starring: Michael Beck, Deborah Van Valkenburgh, James Remar

Can. You. DIG IT? It's hard to really put my finger on why this film is as great as it is, because honestly, it's so simple. All of New York's gangs meet up one night to discuss forming an alliance, but when the leader of the gang proposing the truce is shot dead, a Coney Island gang called The Warriors are framed, and every gang in New York hunts them down. As I said, the plot is incredibly simple. You basically follow the Warriors as they attempt to get back to Coney Island alive. I think what makes this film work so well is the near impossible odds that our heroes are up against. Everybody wants them dead, and spends the whole film trying to kill them. There's something so intense about that, that literally every gang in the city is after this one group, and The Warriors never feel safe. Every time it looks like they might be alright, they get attacked by a rival gang, or chased by the police. And it's this feeling of constant threat that makes The Warriors such a thrilling watch. You know that anything could go wrong at any moment, and it does. The threat in the movie feels real. It feels like the Warriors are way out of their depth, like at any moment they could be killed or arrested. So many things go wrong for them in this film, and as the night goes on, their situation gets worse and worse. As the situation builds and builds, and things get worse for the Warriors, you start to wonder if they'll even get out at all. I think it would have been easy for the writers to just end the movie with a deus ex machina. But instead, and I'll try my best not to spoil anything here, they turn the situation around and end it the only way that they really could have.

The movie is made in such a way that you just know when something's going to go wrong. You can see when a problem is going to start, like with the scene with Ajax in the park. You know it's going to go wrong somewhere, and you're just waiting for things to go south. The whole film is like this. Anything that can go wrong, does go wrong, and makes the Warriors feel completely unprotected. The action is also really well done, albeit pretty over the top. But it definitely adds to the incredibly stylized tone that Walter Hill was going for.

Speaking of the movie's stylized tone, The Warriors has a distinct feel to it, and when I say that, I mean it's absolutely insane. The sheer madness of this film is perfectly reflected in it's visual style. I love the way that this movie looks. It really feels like New York is this huge battlefield for all these gangs, and the way that each area has it's own unique feel to it makes this movie a pretty visually interesting one. I really love the way each gang has their own style, and the opening credits where we see each gang en route to the meeting is one of the best opening scenes I've ever scene. It establishes who each gang is, as well as pretty much set up the entire plot of the movie in about seven minutes. It's just a fantastic opening scene that sets up the movie perfectly.

So, does this film have any flaws? Not really, actually. Yeah the story is a little bit simple, but apart from that, this film really works. It makes up for it's simplicity with a pretty distinct visual style, incredible action sequences and palpable tension, making for a chaotically fun and thrilling watch. It's a film that's always on the move, always going somewhere new, always throwing it's characters into new situations and always throwing new twists and turns at you (more from an action standpoint than from a story standpoint). Overall, The Warriors is a pretty fantastic dystopian crime action film. And like most dystopian films, it mixes it's world with some social commentary. Here, it's the perception of gangs. I love the scene on the train where Mercy's looking over at two civilians, almost envious at the life she has compared to them. That's actually pretty fascinating as commentary. Not everyone in these gangs are bad people, and everyone has a reason that they fight. It humanizes people that  would usually be portrayed as one dimensional villains anywhere else. It also says that these people can do heroic actions, and have honour. Yeah, the story is still pretty simple, but the commentary provides depth to the movie.

Overall, The Warriors is just an awesome movie. Fast paced, stylish action, mesmerizing visual style, and surprisingly deep social commentary make this movie one of the standouts of it's decade in my opinion. It's certainly one that I feel not enough people talk about, both as an action film and as social commentary. If you haven't seen The Warriors, please do. It's great movie, and one that's undoubtedly worth seeing, whether you just want great action or you want some surprisingly intelligent commentary on how we perceive criminals.