5/10. I'm not really sure what to make of this movie. It certainly wasn't what I was expecting. It was much much darker than I pictured it being from what little I'd heard about it before hand.
Basically a fairy tale set against the backdrop of the Spanish Civil War in 1944. That's all it really is. I'm sure there are deeper meanings and metaphors than I got out of it, but they were lost on me.
I guess you could compare this to a David Lynch film with a classical narrative structure, as it was apparently very personal to Guillermo Del Toro, the director, and it was very surreal in parts. So while I'm sure Del Toro loved it, and others around the world appeared to have loved it as well (at least judging from it's IMDB score), I was just kind alternating between being appalled and apathetic about this story. It really didn't live up to it's hype to me. To sum up how I feel about this movie: "meh".
June 30, 2011
June 26, 2011
Brick (2005)
5/10. Gritty film noir involving students of a suburban California high school. Joseph Gordon-Levitt plays Brendan, a high school loner who navigates the school's cliques to find out who murdered his ex-girlfriend.
At first this film comes off as silly. High school kids, getting mixed up in overly serious situations, bantering back and forth like criminals out of an Edward G. Robinson movie. But, if you suspend your disbelief, and overcome the extremely poor sound mixing, and are able to understand what they are saying to each other, this throwback to California noir of yesteryear ends up being pretty entertaining.
Joseph Gordon-Levitt wasn't too shabby in one of his first post Third Rock starring roles. Though I've seen better work on his part, he did the best he could with what was given.
I probably would have rated this film higher if it just weren't for the fact that these are kids in this movie. I'm sure people have heard that films are all just about playing dress up or pretend. Well that's what Brick came across as being. Like a shined up version of some high school play, like Dawson's Creek without all the "issues" or doucheness. It was entertaining enough though, I only cought myself looking at the clock a few times, plus I finished the movie, which is more than I can say for some other indie films.
At first this film comes off as silly. High school kids, getting mixed up in overly serious situations, bantering back and forth like criminals out of an Edward G. Robinson movie. But, if you suspend your disbelief, and overcome the extremely poor sound mixing, and are able to understand what they are saying to each other, this throwback to California noir of yesteryear ends up being pretty entertaining.
Joseph Gordon-Levitt wasn't too shabby in one of his first post Third Rock starring roles. Though I've seen better work on his part, he did the best he could with what was given.
I probably would have rated this film higher if it just weren't for the fact that these are kids in this movie. I'm sure people have heard that films are all just about playing dress up or pretend. Well that's what Brick came across as being. Like a shined up version of some high school play, like Dawson's Creek without all the "issues" or doucheness. It was entertaining enough though, I only cought myself looking at the clock a few times, plus I finished the movie, which is more than I can say for some other indie films.
Dark City (1950)
6/10. In Charleton Heston's first screen role he plays one of three grifters who dupe an out-of-towner out of his every penny in a poker game. The out-of-towner hangs himself and his psychopathic brother hunts down Heston and crew seeking vengeance.
Dark City was your run of the mill 50's film noir. It's most notable in my opinion for introducing us to a very young Charleton Heston. Heston really stands out in this film, with his stilted acting and intense demeanor that won him more starring roles. There were other notables including Dragnet's Jack Webb as a baddie, and M.A.S.H.'s Harry Morgan as a punchy sidekick.
Not as memorable, or dark, as most film niors, but it was entertaining nonetheless.
Dark City was your run of the mill 50's film noir. It's most notable in my opinion for introducing us to a very young Charleton Heston. Heston really stands out in this film, with his stilted acting and intense demeanor that won him more starring roles. There were other notables including Dragnet's Jack Webb as a baddie, and M.A.S.H.'s Harry Morgan as a punchy sidekick.
Not as memorable, or dark, as most film niors, but it was entertaining nonetheless.
June 25, 2011
The Crucible (1996)
7/10. This film covers that black eye on the New World known as the Salem witch trials. In the film, the town of Salem, in the colony of Massachusetts is turned upside down over accusations of witchcraft. Many are arrested and some are hanged. The thing is, the accusations all come from a group of young girls who lie to assist their own jealousies, vanities, and fears of reprisal. Once the government steps in everyone is vulnerable to the accusation of witchcraft and the whole town is whipped into mass hysteria And with strict literal puritans running the courtroom you know this won't end well.
The whole subject matter is hard to watch for me being a Christian, as it's always difficult to see your brothers and sisters portrayed as hypocrites, even if it's rightfully so.
I should note that this is based on a screenplay adaptation of Arthur Miller's most famous play, by the playwright himself. He initially wrote the Crucible as a response to having been forced to testify before the House of Representatives' Committee on Un-American Activities, that is, the McCarthy investigations in 1956. You can definitely see why the McCarthy era is now commonly referred to as a witch hunt.
On the production side, Daniel Day-Louis is excellent as always. Winona Ryder is awful as usual. When the two are acting in the same scene together, she just comes off looking like a rank amateur. It's interesting to see the great Paul Scofield on the opposite side of the bar as he was in "A Man For All Seasons". Though there's weight in some of the performances, most of the townspeople and government officials seem like caricatures, even if they have excellent King James style lines to read.
All in all, a parable of the dangers of mass hysteria. Hard to watch, but a good film nonetheless.
The whole subject matter is hard to watch for me being a Christian, as it's always difficult to see your brothers and sisters portrayed as hypocrites, even if it's rightfully so.
I should note that this is based on a screenplay adaptation of Arthur Miller's most famous play, by the playwright himself. He initially wrote the Crucible as a response to having been forced to testify before the House of Representatives' Committee on Un-American Activities, that is, the McCarthy investigations in 1956. You can definitely see why the McCarthy era is now commonly referred to as a witch hunt.
On the production side, Daniel Day-Louis is excellent as always. Winona Ryder is awful as usual. When the two are acting in the same scene together, she just comes off looking like a rank amateur. It's interesting to see the great Paul Scofield on the opposite side of the bar as he was in "A Man For All Seasons". Though there's weight in some of the performances, most of the townspeople and government officials seem like caricatures, even if they have excellent King James style lines to read.
All in all, a parable of the dangers of mass hysteria. Hard to watch, but a good film nonetheless.
Doubt (2008)
9/10. This movie elicited the exact responses from me as it intended. I attribute that to the strong writing of the story. I was not surprised to learn that this film was based on a Tony and Pulitzer Prize winning play. Aside from musicals and farce, the theater is where real drama is displayed.
The basic story line is of a strict nun who accuses a Catholic pastor of sexually abusing one of the students at the Catholic school. She doesn't do this publicly, but rather behind closed doors and in secret, mostly utilizing and referring to implications and gossip. The pastor maintains his innocence in the face of her certainty. On the third side of this triangle is another younger more naive nun who, like the audience, has doubts at different times as to the genuineness of both the accuser and the accused.
Sound confusing? That's because it is. This play/movie successfully had me second guessing the characters and myself, which I believe was it's full intention. Belying it's title, there were so many messages and truths to be felt and seen in this story that it was somewhat overwhelming. And these messages were not just for the Christian, but for all moral peoples. However, the ultimate overriding force throughout was one of doubt; which, as the pastor foretold in his opening sermon, can divide us or unite in commonality. It is ultimately up to us.
I would be remiss if I didn't mention the apt direction of the playwright, and the Oscar caliber acting of all the players. I would definitely like to see this movie again sometime.
The basic story line is of a strict nun who accuses a Catholic pastor of sexually abusing one of the students at the Catholic school. She doesn't do this publicly, but rather behind closed doors and in secret, mostly utilizing and referring to implications and gossip. The pastor maintains his innocence in the face of her certainty. On the third side of this triangle is another younger more naive nun who, like the audience, has doubts at different times as to the genuineness of both the accuser and the accused.
Sound confusing? That's because it is. This play/movie successfully had me second guessing the characters and myself, which I believe was it's full intention. Belying it's title, there were so many messages and truths to be felt and seen in this story that it was somewhat overwhelming. And these messages were not just for the Christian, but for all moral peoples. However, the ultimate overriding force throughout was one of doubt; which, as the pastor foretold in his opening sermon, can divide us or unite in commonality. It is ultimately up to us.
I would be remiss if I didn't mention the apt direction of the playwright, and the Oscar caliber acting of all the players. I would definitely like to see this movie again sometime.
June 22, 2011
Black Swan (2010)
8/10. Wow. This ballet is definitely not boring. Natalie Portman plays the leading ballerina in the NYC Ballet's production of Swan Lake. Only, as she strives for perfection in her performance, things begin to become unraveled, leading to a horrifying conclusion.
In my humble opinion, this movie can be most likened to Brian De Palma's Carrie (1976). An innocente awakens into womanhood under tremendous social pressure, and an overbearing controlling mother to stifle her at every turn. The only result can be psychosis. Not necessarily the overt parapsychological climax of Carrie, but one nearly as dramatic.
Aranofsky's camera work following Portman at every turn, and featuring more close-up shots on it's protagonist than any movie in recent memory, only heightens the tension as we follow her down her spiral into madness. Araonofsky said this film was his companion piece to The Wrestler (2008), and while it may not be as manly, it's just as hard not to look away.
In my humble opinion, this movie can be most likened to Brian De Palma's Carrie (1976). An innocente awakens into womanhood under tremendous social pressure, and an overbearing controlling mother to stifle her at every turn. The only result can be psychosis. Not necessarily the overt parapsychological climax of Carrie, but one nearly as dramatic.
Aranofsky's camera work following Portman at every turn, and featuring more close-up shots on it's protagonist than any movie in recent memory, only heightens the tension as we follow her down her spiral into madness. Araonofsky said this film was his companion piece to The Wrestler (2008), and while it may not be as manly, it's just as hard not to look away.
June 19, 2011
Caligula (1979)
2/10. I hated this movie. I couldn't even finish it.
Gore Vidal knows his Romans, and Tinto Brass knows his erotica. Unfortunately, the socio-political intrigue of the imperial court doesn't mix well with the sexual exploits of it's emperor. At least not when the founders of Penthouse magazine are doing the editing.
I didn't even watch the X-rated version with the hardcore sex scenes and yet it was almost too much to handle. This was the recently re-released R-rated version, but there's so much nudity and fornication that you begin to become desensitized to it. In reality, they weren't just doing it all the time in Rome, they did have an empire to run.
I think I may have not given it such a low score, save for the fact that the set design and lighting were too impressionistic. That's something I have little patience for, at least when dealing with historical subject matter. I imagine Hell could look something like these garish sets. And the devil may act somewhat like Peter O'Toole's over the top performance. As an avant-garde art film, I guess you could call this a win, but the sexualization of every little aspect is too much for my puritanical American mores.
Gore Vidal knows his Romans, and Tinto Brass knows his erotica. Unfortunately, the socio-political intrigue of the imperial court doesn't mix well with the sexual exploits of it's emperor. At least not when the founders of Penthouse magazine are doing the editing.
I didn't even watch the X-rated version with the hardcore sex scenes and yet it was almost too much to handle. This was the recently re-released R-rated version, but there's so much nudity and fornication that you begin to become desensitized to it. In reality, they weren't just doing it all the time in Rome, they did have an empire to run.
I think I may have not given it such a low score, save for the fact that the set design and lighting were too impressionistic. That's something I have little patience for, at least when dealing with historical subject matter. I imagine Hell could look something like these garish sets. And the devil may act somewhat like Peter O'Toole's over the top performance. As an avant-garde art film, I guess you could call this a win, but the sexualization of every little aspect is too much for my puritanical American mores.
Sisters (1973)
6/10. Sisters is among Brian De Palma's earliest works behind the directors chair. Made for American International, the production company best known for grindhouse schlock in the 60's and 70's, this picture stands out.
After witnessing a murder in an apartment on Staten Island, a feminist reporter begins an investigation into the life of the apartment's owner played by Margot Kidder. What she finds out is horrifying.
All of De Palma's touches are here: the Hitchcockian suspense; the overbearing musical score; the split screen and POV camera work; the touch of parapsychological horror. What made him famous for Carrie, can definately be seen in Sisters. I bet the once priceless Bernard Hermann was pleased to be once again working on a film with substance, instead of the run of the mill slasher fare he'd relinquished himself to in his later years. This film is definitely a stand out from the rest of American International's catalog.
I wouldn't say I liked this film, as I don't usually like horror films. It just impressed me as a well crafted film that didn't quite end up how you thought it would.
After witnessing a murder in an apartment on Staten Island, a feminist reporter begins an investigation into the life of the apartment's owner played by Margot Kidder. What she finds out is horrifying.
All of De Palma's touches are here: the Hitchcockian suspense; the overbearing musical score; the split screen and POV camera work; the touch of parapsychological horror. What made him famous for Carrie, can definately be seen in Sisters. I bet the once priceless Bernard Hermann was pleased to be once again working on a film with substance, instead of the run of the mill slasher fare he'd relinquished himself to in his later years. This film is definitely a stand out from the rest of American International's catalog.
I wouldn't say I liked this film, as I don't usually like horror films. It just impressed me as a well crafted film that didn't quite end up how you thought it would.
June 18, 2011
Sanjuro (1962)
8/10. Kurosawa's sequel to Yojimbo sees Toshiro Mifune reprising his role as the wandering samurai, this time aiding a clan in some medieval intrigue. Not as action packed or as hardcore as I recall Yojimbo being, but still keeps the viewer wondering what may happen next. Mifune plays Sanjuro thoughtfully when needed, yet at the same time a steely killer. A naked sword, unsheathed and unsettled.
Kurosawa's movies always seem to me like they could be just as interesting filmed shot for shot today as they were 50 years ago. Truly timeless.
Kurosawa's movies always seem to me like they could be just as interesting filmed shot for shot today as they were 50 years ago. Truly timeless.
True Grit (2010)
8/10. What can I say, I love movies that implement old-timey dialogue, and this has it in full. Among the Cohen brothers best films. I was surprised to see Spielberg's name attached to this as executive producer. I wonder what kind of hand he had in it's creation? Regardless, the direction of this film was excellent, but it was the brother's script that really did it for me. Not quite as authentic as The Assassination of Jesse James, but it was an excellent attempt.
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