And here's where the first bumps in the road appear for Godzilla's Heisei era. Behind the camera is Kensho Yamashita, an assistant director at Toho studios since 1969; despite his long association with the big G, he feels like he has a less firm grasp on the special effects sequences than Takao Okawara ("Godzilla vs. Mechagodzilla II")...then again, it might simply be a case that there was less money to go around by 1994, as one can't help but notice…
Don't you love a movie that isn't ashamed of being a Movie with a capital M? "Last of the Mohicans" opens with pre-credits titles letting you know, hey, we're back in the 1700's, when America was little more than a ragtag bunch of colonies—deal with it—then cut to the title in a HUGE font, all set to an absolutely epic music score from Trevor Rabin and Randy Edelman that probably pushed multiplex speakers to their limits back in 1992.
"But I love silence. I love loneliness. And they—they are in me. Their strength, warmth. They're soft, they're soft." A Jungian fever dream of life in the urban jungle. Pop psychology, sexual repression, and marital regrets stir in the film that kicked off Val Lewton's string of RKO greats. Might be the most effective use of light, shadow, and fog in the history of its genre. The Criterion Blu-ray looks incredible.
I was wondering why no one talks about this as one of the best films of its era...until the last 15 minutes, when Schrader kind of runs out of places to go. But for me, that doesn't detract from what "American Gigolo" does so well: MTV surfaces filmed at a Bressonian remove. Richard Gere is perfectly cast as an intruder in high society; a young man whose life, despite his illicit profession, is characterized by a profound (re: spiritual) loneliness.