Some are new, some are old - some I've seen before, some I just happened across - some I've been waiting years to see.
Of course there were many great films I saw, and some not so great, but which weren't included in the blog because I didn't watch them in their entirety - 'Network' for example. So the films that are listed on this blog are only the ones I watched start to finish.
These are, in the order I watched them, my 20 favourites of the 254 films I watched in 2008:
Spirit of the Beehive (Victor Erice,1973)
Kramer vs Kramer (Robert Benton, 1979)
There Will Be Blood (Paul Thomas Anderson, 2008)
The Elephant Man (David Lynch, 1980)
Requiem (Hans Christian Schmid, 2006)
The Enigma of Kaspar Hauser (Werner Herzog, 1974)
Persepolis (Marjane Satrapi and Vincent Paronnaud, 2007)
Alice in the Cities (Wim Wenders, 1974)
Kes (Ken Loach, 1969)
The Piano (Jane Campion, 1993)
Odd Man Out (Carol Reed, 1947)
2001: A Space Odyssey (Stanley Kubrick, 1968)
Andrei Rublev (Andrey Tarkovsky, 1966)
Berlin Alexanderplatz (Rainer Werner Fassbinder, 1980)
The Bill Douglas Trilogy (My Childhood, 1972; My Ain Folk, 1973; My Way Home, 1978)
I, Pierre Riviere... (Rene Allio, 1976)
Fargo (Joel and Ethan Coen, 1996)
Hunger (Steve McQueen, 2008)
The Big Lebowski (Joel and Ethan Coen, 1998)
The Assassination of Jesse James by the Coward Robert Ford (Andrew Domynyk, 2007)
It would seem the 1970s produced the best films, or that I watched a majority of films from the 1970s, as they've dominated my list with 6 films, whilst the 1990s and the 1960s get 3 apiece and the 1980s have 2. One film dates from 1947, then of the 5 films since 2000, 4 of them were released in the UK this year.
So all in all a pretty good mix. 7 American Films, 4 British, 4 German, 1 New Zealand, 1 Spanish, 1 Russian, 1 French and 1 French/Iranian.
Unfortunately my blog lost a bit of momentum. Starting with 1000-word essays really set the bar for myself and I couldn't keep it up, usually because if I had time to write an essay about a film, then I had time to watch a film - which is usually what happened. So the essays became sentences and they became single word reviews, but to be honest the main purpose was simply to keep a list of how many films I watched in a year. When I was at university I averaged 1000 a year so I've definitely dipped but i'm happy I have a social life too.
So this is my last ever post. I doubt very much anyone has read any of my blog at all, and if they considered it they were probably put off by the fact I didn't write very much. Nonetheless, I've gained much pleasure from these films - even the terrible ones (and there's been a few - highlights would have to be Liverpool and Mamma Mia, both released this year). I'll keep busy watching and always looking forward to both new releases and old classics waiting to be discovered.
Cheers.
Wednesday 31 December 2008
Sunday 28 December 2008
Saturday 27 December 2008
The French Lieutenant's Woman (1981)
Unfortunately, considering my admiration for John Fowles, Harold Pinter (who has sadly passed away) and Karel Reisz, this is a little boring and not particularly insightful. The conceit of showing the actors playing the film doesn't really contribute much to the story and has far less effect than Fowles' post-modern novel.
Mamma Mia (2008)
The film equivalent of a hen night, this is utterly unbearable for anyone with the slightest taste. Most disappointing is the inclusion of several decent actors who should have known better (and shouldn't have attempted to sing!).
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Fairly entertaining, although a little over the top - until the end where it's just one step too far into absurdity.
Thursday 25 December 2008
Wallace and Gromit in the Curse of the Were-Rabbit (2005)
Quintessentially English and old-fashioned, like the entertainment that got us through World War Two, but far more witty.
Tuesday 23 December 2008
Sunday 21 December 2008
V For Vendetta (2005)
Original and intriguing idea about a fascist, dictatorship Britain but the film goes over the top and seriously misjudges the meaning of blowing up the Houses of Parliament, the model for democracy around the world.
The Assassination of Jesse James by the Coward Robert Ford (2007)
Tense, inventive, thrilling and engaging with fine performances (particularly Casey Affleck's revelatory turn) and excellent direction.
Saturday 20 December 2008
Wild River (1960)
A potentially interesting drama spoilt by the unnecessary romance sub-plot, but as with all Kazan films the performances are ahead of their time.
Thursday 18 December 2008
Oyu-sama (Miss Oyu, 1951)
Passionately restrained, with touches of melodrama. Not a remarkable addition to Mizoguchi's oeuvre.
Wednesday 17 December 2008
Tuesday 16 December 2008
Friday 12 December 2008
Ne Touchez Pas La Hache (Don't Touch The Axe, 2007)
Classically impassioned and a reminder that no one did brooding intensity quite like Guillaume Depardieu - a great loss.
Monday 8 December 2008
Wednesday 3 December 2008
Goal II: Living the Dream (2007)
A little too perfect and unbelievable, but a good formula for the football movie that doesn't borrow too heavily from US sports movies.
Tuesday 2 December 2008
Monday 1 December 2008
Friday 28 November 2008
Tuesday 25 November 2008
Thursday 20 November 2008
Tuesday 18 November 2008
Monday 17 November 2008
Sunday 16 November 2008
Thursday 13 November 2008
Monday 10 November 2008
Saturday 1 November 2008
Monday 27 October 2008
Sunday 19 October 2008
The Witches (1990)
Considering what a great cinematographer Nic Roeg was it's a shame this film doesn't look better, but when you're working with animatronic mice and grotesque witch outfits, it's understandable that childish entertainment is more important than artistic ambitions.
Another favourite as a child, this now seems dated and cheap but that's inevitable with any youthful delights. Anjelica Huston is suitably flamboyant and Bavarian to offer both entertainment and fear for any youngster fancying a fright, or who may enjoy Roald Dahl's books.
Unfortunately, considering how enduring the works of Dahl are, this film is certainly only for children to young to acknowledge its flaws.
Intolerance (1916)
This epic of the silent era purportedly tells the story of intolerance and injustice across the ages, with four stories covering the Babylonian Empire, Jesus, Medieval France and contemporary 20th Century America. The stories achieve varying levels of success, with some more obviously about injustice than others. The Babylonian installation has become most famous for its incredible sets and thousands of extras but the narrative is one of adventures and warfare rather than intolerance. Jesus' story, clearly an antidote to intolerance, is barely touched upon. The same is the case with the Huegenots in France, a story that switches between royalty and a Protestant family on the day of the St Bartholomew massacre. The most significant story is that of the 'Little Dear' consistently oppressed by those 'charities' that interfere in normal lives by trying to better them. This story is the most melodramatic, cynical and also over-simplified - assuming all criminals are the subject of injustice and all charities are useless.
Similar to 'Gone With The Wind', the spectacle of such a huge film makes it difficult to gauge just how good it really is and it is certainly a challenge to maintain concentration for three hours of silent cinema, especially in this day and age, but if ay film can live up to modern special effects and action, then 'Intolerance' is that film.
Sunday 5 October 2008
Friday 26 September 2008
Tuesday 23 September 2008
Saturday 20 September 2008
Tuesday 16 September 2008
Sunday 14 September 2008
During One Night (1961)
Like the best B-Movies, this film hints at being much more than simple entertainment. It's cheap, the acting isn't great, the dialogue can be a little obvious - but what an intriguing story.
An American fighter pilot, stationed in Britain during the Second World War, is shaken up when his friend kills himself after having his genitals blown off (and being still a virgin). Determined to tackle his sexuality and "become a man", the Captain resolves to lose his virginity, trying first a prostitute, then a sweet local girl, but struggling to overcome the pressure.
Being made in the early 60s, this was a bold subject to tackle, but even now it's difficult to imagine a film broaching such an awkward matter. The torment of a young man feeling inadequate is brilliantly explored, with the impending threat of his next mission filling him with determination. He can be frustratingly immature and naive but perhaps that's a reflection of the times more than his personality.
It's surprising to find a film such as this to be so rewarding and unusual - with the added bonus of a young Susan Hampshire's bottom - and it just goes to show that every film has something to offer, and new discoveries can be unearthed when you least suspect it.
An American fighter pilot, stationed in Britain during the Second World War, is shaken up when his friend kills himself after having his genitals blown off (and being still a virgin). Determined to tackle his sexuality and "become a man", the Captain resolves to lose his virginity, trying first a prostitute, then a sweet local girl, but struggling to overcome the pressure.
Being made in the early 60s, this was a bold subject to tackle, but even now it's difficult to imagine a film broaching such an awkward matter. The torment of a young man feeling inadequate is brilliantly explored, with the impending threat of his next mission filling him with determination. He can be frustratingly immature and naive but perhaps that's a reflection of the times more than his personality.
It's surprising to find a film such as this to be so rewarding and unusual - with the added bonus of a young Susan Hampshire's bottom - and it just goes to show that every film has something to offer, and new discoveries can be unearthed when you least suspect it.
Saturday 13 September 2008
Monday 8 September 2008
Sunday 7 September 2008
Sunday 31 August 2008
The Big Easy (1987)
A sexy, light-hearted crime thriller, The Big Easy now seems a little dated and doesn’t seem to have a strong identity in terms of it narrative or characters. At times, a dark story of police corruption, the next moment it almost touches on romantic comedy territory. Perhaps, though, this is closer to real life in the way crime and romance in one person’s life can produce very different moods within the space of a few hours. But Ellen Barkin as Anne Osborne also comes across as both professionally tough and emotionally fragile – again, an interesting contradiction but a frustrating one.
Perhaps I just didn’t really like it, as I know it has a good reputation. For me it was much like Dennis Quaid’s New Orleans accent – it can’t decide quite what it’s trying to be and so doesn’t commit itself either way.
The Time Machine (2002)
The Time Machine tries its best to update the premonitory science-fiction of H. G. Wells’ original novel but only seems to become less exciting by introducing logical scientific developments such as holographic computers and a world dominated by advertising, and thereby taking the fun out of Hartdegen’s adventures. When he does arrive in the very, very far future the CGI does create an impressive other-world but the performances from a vacant Guy Pearce and try-hard Samantha Mumba can not contribute much to save what is, ultimately, a fairly ridiculous story.
Some attempt is made to create a contemporary relevance condemning war, climate change and even the pursuit of knowledge but the film contradicts itself as, even in the futuristic idyll of 800,000 years from now, there is another race of man that will always force these pressures on peace-loving people.
The most redeeming aspect of the film is the clever use of scenes that combine the past and future at one and the same time.
Saturday 30 August 2008
Rio das Mortes (1971)
I love the idea of Rio das Mortes, in which two old friends in dead-end jobs rekindle their plan to travel to South America and discover lost treasures, only to have their hopes deflated by an intolerant girlfriend – it speaks of the frustrations and dreams of post-War youths in Germany on such a simple level, struggling to raise money and convert their fantasies into reality.
The finished product may not be all that special but it does boast one of the best Fassbinder scenes, when he inexplicably appears to accompany Hanna Schygulla’s great dancing. Considering the amount of films he made in such a short space of time, this made-for-TV movie is still better than anything a lot of other directors could make.
The finished product may not be all that special but it does boast one of the best Fassbinder scenes, when he inexplicably appears to accompany Hanna Schygulla’s great dancing. Considering the amount of films he made in such a short space of time, this made-for-TV movie is still better than anything a lot of other directors could make.
La ley del deseo (Law of Desire, 1987)
Law of Desire is a strong example of a typical Almodovar film, featuring homosexuals, transvestites, jealousy, murder, multiples storylines and the world of performance. It’s also colourful and frivolous, quite entertaining, a bit confusing and sometimes frustratingly silly. It depends if you like Almodovar – I personally would like a little more variation.
Die Niklashauser Fart (The Niklashausen Journey, 1970)
The Niklashausen Journey is one of Fassbinder’s most openly experimental films, combining characters in modern dress with others in medieval costumes, rural idylls and contemporary rock concerts, in order to tell the story of a small revolution surrounding a shepherd who claims to have been visited by the Virgin Mary. Parallels are drawn between the religious fervour of earlier centuries with socialist groups attempting to upset the authorities.
The way in which this story is told can be a little alienating in its lack of conventional narrative but the point is sufficiently communicated to make this Fassbinder’s most explicitly political film.
The way in which this story is told can be a little alienating in its lack of conventional narrative but the point is sufficiently communicated to make this Fassbinder’s most explicitly political film.
Der Amerikanische Soldat (The American Soldier, 1970)
A rather brief and inconsequential film, The American Soldier is also one of Fassbinder best-known early works. Bringing a new, German angle to the crime noir of Hollywood, it tells the story of a young man returning home from Vietnam to Munich, where he is hired as a contract killer, and the three bent coppers who hire him then try to destroy him.
The film makes typical use of Fassbinder’s sparse dialogue and set design, suggesting a certain amateurism that makes the true professionalism seem all the more remarkable – the key factor that makes Fassbinder’s early films so accessible yet impressive. A good representative of his early genre films but certainly not one of his best.
The film makes typical use of Fassbinder’s sparse dialogue and set design, suggesting a certain amateurism that makes the true professionalism seem all the more remarkable – the key factor that makes Fassbinder’s early films so accessible yet impressive. A good representative of his early genre films but certainly not one of his best.
The Fountain (2006)
The Fountain is, unfortunately, one of the worst films I’ve seen. After the gritty and experimental Pi and Requiem for a Dream, Darren Aronofsky has opted for high production values, epic special effects and a storyline crossing centuries – only he doesn’t have the money, or the story, to pull it off. The original cast featured Brad Pitt, Cate Blanchett and Johnny Depp, and no doubt would have been spectacular, but after Pitt pulled out to make the equally poor Troy, he reportedly cost the production $90 million, and it never quite recovered.
With an embarrassing plot veering between a conquistador, a scientist and a futuristic Buddha figure, it’s unlikely all the money in the world would have helped, whilst Rachel Weisz and Hugh Jackman struggle with poor dialogue and ludicrous scenes to emerge with any dignity at all.
An upsetting instalment from an otherwise intriguing director, although hopes that he may recover have been let down by the news his next film is about a wrestler and stars Mickey Rourke – proof that some directors are better of never ‘making it’.
Berlin Alexanderplatz (1980)
I went through a bit of a quiet patch with film watching, mostly down tot he fact that my time was taken up with ths epic from Fassbinder. Clocking in at 15 and a half hours, 'Berlin Alexanderplatz' was made for television but is essentially the longest narrative film ever made.
An ambitious attempt to adapt Alfred Doblin's novel, which traces the trials and tribulations of one man, Franz Biberkopf, as he tries to survive the poverty of Berlin between the wars, taking in a variety of themes from crime to true love, a naive sense of good in all people to psychopathic neuroses and the rise of Nazism, the film is a remarkable achievement marking the highpoint of Fassbinder's prolific and innovative career.
The performances are universally superb, aided by the fact that most of the scenes are extended beyond their typical length, allowing events, emotions and themes to be fully expressed and explored, within the stylised framework of Fassbinder's staging. It's not unusual to suddenly realise that one conversation has lasted twenty minutes, without a huge amount being said - with the true extent of the characters' feelings expressed through their behaviour and the development of their relationships with the other protagonists within a single scene. This can become a little too much sometimes, and occasionally, particularly with the often-repeated memories, it can feel like the episodes are being plumped out, but on the whole the film's power increases with each minute.
Gunter Lamprecht, as Biberkopf, is particularly superb, appearing in almost every scene and going through a significant transformation at one point, but special mention should go to Gottfried John's subtle evocation of the terrifying and deadly Reinhold, whilst Barbara Sukowa gives a sweet and humorous early performance.
The film is also a wonderful human map of Berlin, even if the majority of the action occurs around Alexanderplatz. We encounter the various aspects of inter-war life including the variety of options open to those looking for work and the final dependence on crime to make money, the frequent role that bars and prostitutes play in maintaining good morale, and attitudes to sex and relationships. Throughout the film there are various readings from contemporary texts, often dealing with scientific developments in the understanding of sex and relationships, brilliantly recording the changing attitudes of the time and giving an insight into the psychology of the people at the time.
Beyond the thematic content, there's an intriguing and actively exciting narrative tracing Biberkopf's unwavering faith in his friends and lovers, as the pressures of society press down upon him harder and harder. The epilogue, which is basically a film in itself, is a major departure from the rest of the film as it becomes increasingly feverish, dreamlike and symbolic, taking place largely inside Biberkopf's mind. I personally didn't enjoy that element as much as the rest of the film but it's certainly ambitious and well executed.
Nothing I write will fully do justice to this series/film, simply because it includes so much. Unfortunately many people won't take the effort to watch something so lengthy but if you treat like a television series it's really not difficult. I recommend it to everyone but especially to any fans of Fassbinder as, for me, this is his crowning achievement.
Sunday 17 August 2008
Ladri di biciclette (Bicycle Thieves, 1948)
It's a tribute to the power of this film that it has become one of the most highly revered films of all times, despite also being perhaps one of the simplest. Its success may in part be down to its reputation as the quintessential example of Italian Neo-Realism, despite it being neither the first or best of the genre.
Like the vast majority of Neo-Realist films, 'Bicycle Thieves' focusses on the extreme poverty of the working classes in post-war Italy. In this case, an unemployed man is finally offered a job, on the provision that he owns a bicycle. Whilst the first part of the film details his struggle to raise the funds to reclaim his bike from the pawnbrokers, reaching an optimistic climax, the second half sinks back into frustration and disappointment after the bike is stolen and the hero recruits his friends and son to help him recover it.
Thanks to the simplicity of the plot, and the realism of the film's style, shot on the streets of Rome with amateur actors, within real communities, the power of either the most basic scenes shines through, and we feel each injustice and anger at each barricade preventing the hero from making even a small wage. The film's ending is among the most profound, memorable and upsetting in cinema.
I'm almost embarrassed to say that, despite studying film and watching everything I can get my hands on, this is the first time I have seen this film, which many consider an essential part of any education in international art cinema. Due to the role that Italian Neo-Realism played in the history of cinema (in my opinion, it was probably the catalyst for the greatest development in the film industry) by creating an independent method of film-making that left the studios for real locations, I would have to agree that this is a film everyone should see.
Saturday 9 August 2008
Radio On (1980)
Hailed as a classic upon its rerelease, this British road movie doesn't quite live up to the hype, predominantly because it's so deliberately despondent. Focusing on the alienation from one's fellow man that arises from the isolation of motorway travel, the film follows a young man travelling across the country after his brother's death, perhaps unconsciously seeking to rediscover a similar attachment to another person.
Instead, he picks up an intimidatingly aggressive hitch-hiker, briefly relates in a superficial manner with a musical mechanic (played by a young Sting), then becomes involved with a German woman stranded in Bristol with her daughter, all playing their part in his attempts to 'wake up' from his self-imposed stupor.
Throughout, the film boasts an excellent soundtrack of early electronica from the likes of Kraftwerk and David Bowie, further emphasizing the artificiality of the modern age. Inspired and produced by Wim Wenders, in the spirit of his own European road movies, this makes a informed attempt at transposing the genre to Britain but too often feels a little rushed and cheap, without any truly revelatory content.
Andrey Rublyov (Andrei Rublev, 1969)
Considered by many, myself included, to be one of the finest films of all time, Andrey Rublev is a stunningly epic film, with a story that meanders through history, focussing predominantly on the life of the icon painter, Rublev, as well as a conflict between rival twin Princes and Tartar invasions.
It was only Tarkovsky's second film but was hugely ambitious, featuring grand battles, thousands of extras and a whole 15th century town alongside a personal artistic vision that saw early signs of Tarkovsky's style of visual poetry that came to dominate his later films.
The ever-changing focus of the plot can be a little disorienting, as are the jumps in time, but the ambiguity of the elliptical narrative makes this far more interesting than the Hollywood version would be. There's a healthy balance between introspective exploration and exciting action that can only be found in the big budget art films made in the Soviet Union.
For me, the best part of the film is the final half hour, which could easily stand alone as its own film. By this point Andrei Rublev has drifted into the background as we see the young Kirill, son of the greatest bellmaker who was killed in the Tartar attack, charged with the responsibility of casting the replacement bell for the rebuilding of the city. Here we see the young, insecure man attempting to assert himself over his more experienced crew, promising them the secret of bell-clay. It's such an interesting premise for a film, and a great analogy, within this context of Russian history, of the strength and conviction with which the young nation united its various warring factions to create the beauty and culture of the modern Russia - as Tarkovsky saw it anyhow.
The breathtaking cinematography, intense performances, unique narrative, challenging length and theological and philosophical content make this an incredible and engrossing cinematic experience.
Sunday 3 August 2008
Rikos ja rangaistus (Crime and Punishment, 1983)
It would be a difficult task for any director, no matter how masterful, to succeed in transporting what is, for me, perhaps the greatest novel of all time. Kaurismaki decided to go for it with his first film, but also wisely opted to alter the story considerably, reducing the plot and modernising the action.
The result is instantly Kaurismakian, making use of his efficient shooting style and expressionless actors, which succeeds in reducing the complexities of the story into a parable. It means the novel isn't best represented but the story and themes are well understood, establishing a talented director.
The result is instantly Kaurismakian, making use of his efficient shooting style and expressionless actors, which succeeds in reducing the complexities of the story into a parable. It means the novel isn't best represented but the story and themes are well understood, establishing a talented director.
Friday 1 August 2008
The Dark Knight (2008)
Here, finally, is the film to convince me that comic book adaptations can be worthwhile - although I'd still prefer it if the more comic book elements had been removed. The first thing to say is that Heath Ledger is incredible. His Joker truly is the performance of a lifetime and his untimely death will ensure that this film remains legendary for such an incredible embodiment of chaos. Unfortunately for everyone else, Ledger utterly overshadows the rest of the film, despite strong supporting performances from Gary Oldman, Aaron Eckhart and Michael Caine.
The biggest victim here is Christian Bale's Batman who drifts into the background, squeezed out by two many characters and Bale's rather dull performance. For me this is a good thing as, whilst Ledger's performance is believable and terrifying, the character of Batman is cartoonish and ridiculous - with his laughable 'scary voice', CGI motorbike tricks and sci-fi sonar technology.
The film is so rich because of the intelligent psychology that explores the codependent relationship between Batman and the Joker; justice and chaos. Elsewhere, the contrast is between the limits of masked crime fighting and the risks of public justice fighting embodied by the ambitious new District Attorney. These more pensive themes are surrounded by spectacular explosions and chases, which can start to drag as the film grows overlong, but all in all the film achieves the near-impossible of being a serious, weighty action movie.
It's only really Batman that spoils it for me, taking the film beyond an identifiable reality and into commercial fantasy. There are a few occasions when the film goes a bit far but on the whole it's a treat. I'm sure there are many people out there who aren't as cynical or elitist as me and perfectly enjoy comic books and all the extravagant adventure they offer. With 'The Dark Knight', however, even the people like me will be happy.
Wednesday 30 July 2008
Tulitikkutehtaan tyttö (The Match Factory Girl, 1990)
One of Aki Kaurismaki's more depressing films, Kati Outinen plays a quiet girl who works all day in a match factory, brings the money home to her parents, then goes out to dance and ends up not getting picked. Just when we feel she might have found some happiness things take a considerable turn for the worse. Thanks to Kaurismaki's brilliant sense of irony there is a constant touch of humour beneath everything - with such stylised performances it's hard to take anything too seriously. In a way there is a happy ending, but certainly not of your Hollywood variety. Miserable but touching.
Tuesday 29 July 2008
The Other Side of the Mirror (2007)
A very natural concert film documenting Bob Dylan's appearances at the Newport Folk Festival at the very beginning of his career when he quickly changed from young idealistic protest singer to abstract rock pioneer. The performances are allowed to speak for themselves with minimal editing or camerawork. The result is that we feel very much as though we were there, watching interrupted performances from the perfect vantage point, except the bonus here is that we can see Dylan's evolution over a much shorter time as quickly detect how he was developing beyond the folk scene - even down to his appearance. Illuminating for any Dylan fan.
A Skin, A Night (2008)
This hour long documentary on New York band, The National, is intriguingly arty and features good music (if you like the band) but it doesn't reveal much at all. There are very few performances, a few shots of the band in the studio, a few short interviews. On the whole we simply watch the band feeling awkward on camera and in the process of nearly recording their album - not great.
Ice Age: The Meltdown (2006)
Another easily watchable Ice Age comedy, albeit with some slightly forced jokes and a complete disregard for biological accuracy. At times it will only appeal to children but also, as is typical in modern cartoons, there's a few parts that'll go over their heads - though not as intelligent as the bulk of Pixar films. Unfortunately there's a bit of a missed opportunity, in that the film is set at the point when the Ice Age comes to an end and the huge walls of ice surrounding the animals' home begin to melt. If the film had wanted to be a little moralistic and current, it could have attempted to address the problem of global warming. Perhaps that would have contrived in what is really just a bit of fun.
Batman Begins (2005)
As much as Chris Nolan might have been trying to create a very real superhero film, he can't escape the preposterousness of this plot. I would personally be much happier to accept that Bruce Wayne is simply extremely rich has bought himself a rather impressive technical get-up to go and fight crime but as he's presented here, being trained in martial arts in the Himalayas by a mysterious organisation, his history seems rather contrived, cliched and ridiculous.
The idea of him utilising his own fears to intimidate criminals is rather interesting but the fact that this involves an artificial scary voice again serves to make him faintly cartoonish, rather than the 'real' character that Nolan was trying to reveal. I wasn't especially impressed by Christian Bale (Michael Keaton is still the best) but then I don't think he's been any good since 'Empire of the Sun'. As far as Batman films go it's not bad, with impressive fight scenes, a budget-busting supporting cast and a fun new Batmobile, but it wasn't enough to convince me that comic book adaptations can ever make worthy films.
Friday 25 July 2008
Dodgeball: A True Underdog Story (2004)
Having seen this a few time it does quickly lose some of its humour, although it was never quite a 'Zoolander' or an 'Anchorman'. There are still a few moments of comic brilliance - mainly in Ben Stiller's repulsive performance - my own favourite being Lance Armstrong's cameo. The most noticeable thing, though, is how quickly the plot goes by, which means fairly obvious characterisation and and a very unsubtle narrative arc in which it's clear the heroes will inexplicably manage to come through and save the day. The better comedies or recent times have succeeded because they've been so arbitrary and unexpected, but 'Dodgeball' is unfortunately extremely predictable.
This Movie Is Not Yet Rated (2006)
Illuminating documentary on the mysterious way in which the American ratings system operates, favouring studios against independent filmmakers and suppressing sexual content rather than violence. It's shocking to discover that all films in America are rated by 'normal' parents with no professional qualifications, although they are not appointed according to the rules the MPAA have set out themselves. The appeals process also appears to be biased and the film argues that the First Amendment is under threat by this secret organisation led by the self-grandising Jack Valenti for almost 40 years.
With both interviews with filmmakers who have suffered at the hands of the MPAA, and an amusing side-plot featuring a private detective attempting to uncover the identities of the raters, the film succeeds in being both entertaining and revealing, although it unfortunately probably won't change much for the average, independent, art film director.
With both interviews with filmmakers who have suffered at the hands of the MPAA, and an amusing side-plot featuring a private detective attempting to uncover the identities of the raters, the film succeeds in being both entertaining and revealing, although it unfortunately probably won't change much for the average, independent, art film director.
Fanny Hill (1983)
Rather cheap and exploitative version of the classic romp that doesn't take itself at all seriously, providing some titillating sex scenes and a few vaguely comic moments. The performances are surprisingly not too bad, with appearances from Oliver Reed and Shelley Winters, and even the attractive lead, Lisa Raines, does quite well despite her frequent nudity. Unfortunately everything else about the film seems totally artificial and contrived - but who's paying attention to that!
Thursday 24 July 2008
Vampyros Lesbos: Die Erben des Dracula (Vampiros Lesbos, 1971)
Rather poor and nonsensical lesbian vampire film that has somehow become a cult classic, presumably simply because it features lesbian vampires and for no other reason. Still, the soundtrack is fascinatingly bizarre, if a little inappropriate, with wild psychedelic jazz one moment and strange robotic murmuring the next. Elsewhere, the attention to detail is appalling, the plot confusing and the performances poor. Not quite the hidden gem it was portrayed as.
Tuesday 22 July 2008
Sud sanaeha (Blissfully Yours, 2002)
A wonderful slow-paced and dreamy paean to summer laziness, featuring a Burmese man and a Thai woman who subtly disobey the rules of society and skip work to go picnicking in the forest and swimming in a stream. Nothing really happens and the film is extremely slow at some points (holding a shot on a sleeping girl for five minutes) but it's extremely atmospheric and involving, and so cleverly subversive. Director Apichatpong Weerasethakul ('Joe' to his friends) has become one of my favourites in recent years with his experimental and dreamlike films that are so close to reality and yet like no other filmmaker around today.
Tuesday 15 July 2008
All Quiet On The Western Front (1930)
The harrowing true story of a group of young schoolfriends who join up to fight in the trenches of the First World War only to find it doesn't live up to their romantic idyll of warfare. Some moments may seem dated now, such as the slightly sped up action scenes, but the horrors of war are even more striking being portrayed in a time before special effects, when these events were still fresh and were to reoccur a decade later.
United 93 (2006)
Intense and powerful drama following the events of 9/11 from onboard the one plane that didn't hit a target, as well as throwing us into the confusion of the various air traffic control teams. Brilliantly executed with a lack of sentiment and judgement, allowing us to forget our opinions and become immersed in the tragedy as it unfolds.
Following (1998)
Low budget, overly complicated thriller with touches of philosophy but poor performances. Nonetheless, demonstrates good flair from a young filmmaker who can now be found making Batman Movies (obviously has a good ten year plan).
Monday 14 July 2008
John Tucker Must Die (2006)
Very American teen comedy that finds a few laughs but ultimately fails to reach a climax and convey any moral tale.
300 (2006)
Macho (and slightly homoerotic) comic book version of Spartan legend that sacrifices the majority of a personal story for spectacle and freakshow-like wonderment, with more than a few elements of 'Lord of the Rings'.
Wednesday 9 July 2008
Baby Mama (2008)
Light comedy about motherhood which fails to take its issues seriously enough whilst providing only a few laughs.
Something's Gotta Give (2003)
Aged romantic comedy with warmth and good performances but with an overbearing sentimentality and the general feelig that it may have been better under the helm of a more talented director.
Monday 7 July 2008
Funny Ha Ha (2002)
Lo-fi tale of young Americans that successfully represents the counter-culture without being self-indulgent or alienating. An encouraging film for a young director.
Sunday 6 July 2008
Golem, l'esprit de l'exil (Golem, The Spirit of the Exile, 1992)
Complex film transporting Jewish religious myths to present day Paris, creating some memorable cinematic moments but ultimately a confusing and only half-successful plot. Still, with the involvement of Sam Fuller, Bernardo Bertolucci, Philippe Garrel, Hanna Schygulla, Vittorio Mezzogiorno, Henri Alekan, Agnes Godard, Mireille Perrier, Marisa Paredes and music from the sons of Karlheinz Stockhausen - all under the watchful eye of Amos Gitai - you know this has to be something special.
Pal Joey (1957)
Classic musical (Frank Sinatra, Rita Hayworth, Kim Novak) but not particularly memorable.
Wednesday 2 July 2008
The First Wives Club (1996)
Rubbish revenge comedy after three old friends decide to get even with the men in their lives, displaying an unhealthy obsession and low-brow comedy. Worth watching for Diane Keaton's wild freak out in the office.
Intolerable Cruelty (2003)
Disappointingly bland romantic comedy from the Coen Brothers and George Clooney, although Catherine Zeta-Jones is gorgeous. Fortunately their other films demonstrate what they are capable of when they really apply themselves.
Varjoja paratiisissa (Shadows in Paradise, 1986)
Slightly depressing but drily humorous tale of nobodies falling for each other, with charm in its unsensational romance.
Teorema (Theorem, 1968)
One of Pasolini earlier alienating philosophical treatises that wanders and is less effective than his great neo-realist films.
The Last Kiss (2006)
Sitting curiously between romantic comedy and romantic drama, there are some great, emotional scenes with stron performances, which are then let down by the more immature and unneccesary crowd-pleasing scenes.
Friday 27 June 2008
Splendor in the Grass (1961)
Early teenage film that shocks with its frank discussion of adolescent sexuality, with a striking performance from Natalie Wood as a girl driven mad by her urges, whilst Warren Beatty struggles with his own desires.
The Happening (2008)
Oh dear dear dear! Do not see this film. Just when I thought M. Night Shyamalan couldn't get worse than 'The Village' he turned out this poorly written, amateurishly directed, and frankly unpleasant piece of drivel. I for one can't understand the recent trend in deliberately making bad B-movies (such as the Grindhouse films) but maybe it provides a nice excuse for derivative filmmakers like Tarantino and Shyamalan to be lazy about their work.
'The Happening' provides us with the ludiocrous story of trees and plants releasing a deadly toxin into the air of North-East America, causing people to kill themselves immediately. Cue lots of references to gruesome deaths and silly close-ups of trees looking menacing - all accompanied by terrible dialogue and flinch-worthy performances from Mark Wahlberg and Zooey Deschanel.
The general impression is of a cheap, lazy film that insults its audience by offering so little in narrative, drama and depth. Clearly the film is trying to hint at the Earth's revenge for human-induced global warming but it's a very superficial message and not written well enough to really have any effect on its audience.
'Sixth Sense' was more than a fluke, I'm sure, but Shyamalan's run out of ideas since and has become more concerned with spectacle and a clever twist. Please stop letting this man make films.
Thursday 26 June 2008
Dead of Night (1945)
Very dated and not particularly scary horror film, which is nonetheless a British classic. Still guaranteed to disturb you a little, especially at the disorienting climax.
Shadow of a Doubt (1943)
Very old-fashioned domestic crime story that unsettles the American family but drags and becomes a little distracted.
Wednesday 25 June 2008
The Long Goodbye (1973)
Hip and untypical detective story with a very Seventies feel, the Altman vibe of relaxed and laconic characters firmly dealing with the pressures around them - with a cool and funny Elliot Gould besting Humphrey Bogart at playing Philip Marlowe.
Odd Man Out (1947)
Brilliant and thrilling drama in Northern Ireland following the slow death of an IRA terrorist and the increasingly mad excitement that builds around him.
In Bruges (2008)
Witty and silly, but also quite touching, this film may have some awkward and contrived moments but is a strong cinematic debut for a playwright.
The Piano (1993)
One of my absolute favourites, Jane Campion has created a stunning romance set against historical New Zealand with great performances, direction, music and writing, providing some great cinematic images and finding itself as one of my favourite films by a female director.
Pola X (1999)
Disturbing, confusing and controversial, this is a very confident art film from a complex director - not always good but certainly memorable and challenging.
Thursday 19 June 2008
Michael Clayton (2007)
Not quite deserving of its many award nominations (which should have gone to The Assassination of Jesse James...), this is still an intriguing portrait of a man corrupted by corporate power - albeit with not enough focus on the corporation and too-obvious illustrations of his character flaws. Could have been as good as 'Traffic'.
Tuesday 17 June 2008
Fight Club (1999)
It will probably be remembered as defining a generation, as well as being a highly original and influential film, but 'Fight Club' loses some of its potency each time I watch it, seeming more and more indulgent, only fulfilling male fantasies of physical power and rebellion, rather than inspiring a counter-culture that could penetrate and destabilise the mainstream.
Mauvais Sang (The Night Is Young, 1986)
Very French and very confused; this film goes up and down and all around without a strong central narrative and featuring many scenes that indulge Carax's whims rather than serving the story.
Kes (1969)
Excellent early flm of Ken Loach that encapsulates all that was good about British cinema in the 1950s and 60s. A brilliant combination between realism, documentary and escapism - every British child should be made to watch this at school, and may be encouraged to leave the video games behind and head outdoors.
Boy Meets Girl (1984)
A success, in that it captures the spirit of Nouvelle Vague invention whilst still remaining original and contemporary to when the film was made rather than pining fo the past. Stil, some people will find it a little pretentious and not all of the tricks work.
iThree Amigos! (1986)
When I was but a lad, this was stupid and funny - now its just stupid. It may provide laughs on several occasions but really you'd expect better from three comic heavy weights of the 1980s, rather than anything so whimsical and unnecessary.
The Unbearable Lightness of Being (1988)
With all the credentials of a masterpiece: Daniel Day-Lewis and Juliette Binoche are two of the finest actors of their generation; cinematographer Sven Nykvist was one of the best cameramen working in Europe; Walter Murch probably the greatest living editor; Jean-Claude Carriere one of the most important writers in European cinema, based on a book by Milan Kundera; cameos from superb actors like Erland Josephson and Daniel Olbrychski: this really should have been one, but instead the story misses a great opportunity, with the focus on sex stealing attention from the social repercussions of the political situation in Soviet Prague. When Binoche's camera and passport are taking away, it happens just like that, but we get fifteen minutes of her running round naked with Lena Olin. Disappointing.
Traffic (2000)
A great Hollywood film with a strong political message, bringing together several stories featuring A-list celebrities and uncompromised realism. A key film in bringing back the current crop of politicised films spearheaded by George Clooney, it's also an accomplished work of cinema and an emotional drama.
Bigger Than Life (1956)
Dated by its over-dramatic treatment to addiction to perscription drugs, this nonetheless succeeds in creating a shocking and unsettling story of a respectable man (a teacher) who attacks every institute the Americans hold dear: the education system, church, the family, etc.
Liebe ist kalter als der Tod (Love Is Colder Than Death, 1969)
Fassbinder’s debut film, this has many qualities reminiscent of French New Wave cinema, as well as displaying a creative use of limited resources to create an individual and distinctive film. Set in the world of gangsters and prostitutes, the narrative revolves around Franz Walsch (Fassbinder himself), a pimp and petty criminal who refuses to join the Syndicate. He befriends another criminal, extremely evocative of Alain Delon with his handsome features and trenchcoat, and the two of them, along with Franz’s girlfriend Joanna (Fassbinder regular Hanna Schygulla in her debut) start taking care of business by killing a rival and planning a bank robbery.
The high contrast black-and-white photography creates a stylised and surprisingly bright criminal underworld and often the action is played against the same spot of empty wall space. The static camera and long takes also builds the bridge between the Nouvelle Vague and independent American cinema, such as Jarmusch’s ‘Stranger Than Paradise’.
There is also a contrast between the coolness of the criminal underworld and the unpleasant, misogynistic brutality of Walsch towards Joanna. The killings also occur in a chillingly detached way and the overriding impression is of no emotional attachments between the characters and a feeling of disillusionment with society at large – something Fassbinder would explore much further in his later work.
‘Love Is Colder Than Death’, an excellent title, is also a pretty enjoyable film for any cineaste. It shows the point where the Germans were beginning their own New Wave and assimilating the gangster genre from Hollywood, via France, into a distinctive story of post-war Germany.
Thursday 5 June 2008
Short Cuts (1993)
Right, let’s see if I can remember: Andie MacDowell and TV personality Bruce Davison are married with a son. One day he gets knocked over by Lily Tomlin, a waitress married to limo driver Tom Waits. Her daughter, Lili Taylor, is married to make-up artist Robert Downey Jr and they are friends with sex-caller Janet Jason Leigh and her pool-cleaning husband, Chris Penn, who cleans MacDowell and Davison’s pool and lusts after their young neighbour, cello player Lori Singer, who is the daughter of Annie Ross, a jazz singer who Waits often goes to watch. Meanwhile, MacDowell and Davison are visited by Davison’s father, Jack Lemmon, in the hospital where the doctor who treats their son is Matthew Modine, married to artist Julianne Moore, whose sister Madeleine Stowe is married to biker cop, Tim Robbins, who is having an affair with Frances McDormand (whose ex-husband is pilot Peter Gallagher) but also hits on Anne Archer, a clown married to Fred West who has discovered a dead body on a fishing trip with friends. Archer and West go for dinner with Modine and Moore, whilst MacDowell and Davison are bombarded with sinister calls from the baker, Lyle Lovett.
I may easily have missed something out, and these intertwined narratives don’t begin to tell you how complex the various lives included can be. The interactions between different stories isn’t as important as the intimate dramas played between each pairing (it’s usually a couple), with each story revealing a different insecurity or frustration that exists within suburban American life.
Robert Altman made all kinds of films but showed a definite skill with ensemble casts, with the big names involved here suggesting the quality of his work and the high regard he is held in even in Hollywood, where he existed on the peripheries for many years. It is a mixed cast but the performances are equally brilliant, even from those musicians who have no real acting experience (apart from perhaps Lyle Lovett, who looks quite shocked to find himself in front of a camera). Perhaps most remarkable are the performances from the various children, who support the drama by adding to the familial atmosphere of each minor tragedy.
It’s certainly not a cheerful film but it is a powerful work with a collection of fine performances, great, subtle writing and excellent direction. It takes us into an unsettling world where nothing is too wrong, but nothing is too right either. Infidelity, murder, selfishness and an unwillingness to communicate and understand one another – it might be high drama but at times it’s rather familiar too.
Wednesday 4 June 2008
Tuesday 3 June 2008
Ordinary People (1980)
This extremely emotional film isn’t for the faint of heart but it is very rewarding. It follows a slightly obvious path, with the story of a family grieving the favourite son’s death, and the various ways in which different family members handle their feelings, but the astonishing performances overshadow everything else and really blew me away. Robert Redford, this time behind the camera, once again shows how promising he was back in the 1970s.
Cocoon (1985)
A silly comedy about old people finding a new lease of life thanks to aliens soon becomes a sensitive and emotional story about growing old but refusing to die. With Steve Guttenberg on the side.
Saturday 31 May 2008
Happy Feet (2006)
Aside from the rather sappy premise that each penguin has a ‘heart song’ with which they express their inner self and find love, this film has a good message to promote to its young viewers and a few laughs too. Showing environmental issues, in this case over-fishing, from the penguin point of view, we get a cute and cuddly socio-political comic drama.
Mumbo is a penguin without a ‘heart song’. A result of an accident while he was still an egg, Mumbo is instead an excellent tap dancer. Nevertheless, he is rejected by society and blamed for the recent lack of fish. Cast out, he befriends another group of penguins (with Hispanic accents for some reason) and begins to learn of aliens from beyond the ice, who he believes have taken the fish. Determined to solve the fish problem and return to his community (and the penguin he loves – the beautiful Gloria), Mumbo and his friends go on an adventure to find the aliens, who are, of course, us!
What follows is a debate on the attention we should give to other creatures, and the responsibility we have to live alongside them without threatening their lifestyles. Mumbo attracts the attention of the humans with his dancing and soon the make changes, but the message of the film is that we can’t afford to wait for the animals to come to us with some remarkable skill to make us value them – it simply won’t happen – but instead we must constantly bear their needs in mind or risk the extinction of thousands of species whose lives support our own existence in different ways.
The Wedding Singer (1998)
Ordinarily I find Adam Sandler a bit annoying, and immature, but when paired with Drew Barrymore (who I also find quite irritating), they somehow produce some of the only romantic comedies I enjoy. Most recently there was ‘50 First Dates’ but their earlier effort was ‘The Wedding Singer’, set in 1985 around the world of matrimony and producing many laughs and sweet-hearted moments.
As soon as love interest in introduced, Sandler’s characters grow up and become charming, as opposed to the grotesque simpletons of ‘Waterboy’ and ‘Little Nicky’. Barrymore’s similar sweetness is a nice compliment and the two make very nice, pleasant, slightly cheesy romances.
Here, Sandler is a wedding singer, providing entertainment for all the weddings in the local area and soon to be married to his high school sweetheart. Barrymore is working as a waitress and looking forward to her own wedding to a bigoted city worker. When Sandler’s bride fails to show, unable to accept his ‘failure’ as just a wedding singer, he is destroyed, but through the friendship of Barrymore he starts to put his life back together and the two draw closer, until – naturally – they fall in love. It’s a simple plot and the humour is often simple too, it’s just that everything is so nice and heartwarming. I’m not sure I could even say why I like this film…perhaps it’s the classic 80s soundtrack or the cameos from Sandler regulars, or maybe it because deep down I like to see two decent people fall in love just as much as the next man.
Jerry Maguire (1996)
I never particularly liked this film but I thought it was alright – an interesting insight to the world of sports agents and an interesting kind of romance to boot. Watching the film now it’s a disappointing romantic comedy with a tacky message of soul-searching and selflessness thrown in.
I’ll admit Maguire’s character is interesting. A man who makes a living from projecting the idea that everything he does is for his client’s benefit when really he is seeking to run his own business as successfully as possible. It takes the love of a simple woman and the needs of a demanding but talented football player for him to realise a little generosity and compassion. Unfortunately, the film shies away from this and makes it just about a guy who can’t be alone, who loves his business because he gets to schmooze and know every face in the room, and who will do anything to keep a woman at his side.
There are memorable moments: “Show me the money!”, “You had me at hello”, or even singing ‘Freefalling’ at the top of your lungs in the car (as I have done in the past), but none of these are particularly great moments. There is a good early performance from Renee Zellweger, before she went weird and skinny. Cuba Gooding Jr got an Oscar for his exuberant turn but Tom Cruise is just irritating and unlikeable, coming across as smug even when he’s supposed to have had his eyes opened.
Half Nelson (2006)
An independent American film that doesn’t fall into the usual trap of sentimentality or showy-off visuals, this is actually a touching and superbly acted (and directed) tale of a teacher and student, although rather than being your usual inspirational motivator, this teacher is actually a drug addict, and the student is being groomed as a dealer. The film refuses, however, to get drawn into the drama of the situation and remains intelligent and sensitive throughout. Ryan Gosling is excellent and should be watched for the future.
Thursday 29 May 2008
Persepolis (2008)
People often acclaim films that can make you laugh and cry within minutes of each other; if that’s a sign of cinematic success then ‘Persepolis’ must be one of the best films of recent years. The animated story of Marjan, an Iranian girl growing up through the Revolution, the onset of religious extremism, and her subsequent personal traumas, ‘Persepolis’ is touching, tender and, at times, terrifying.
Based on real events, the film is adapted from Marjan Satrapi autobiographical graphic novels, but where ‘Sin City’ portrayed comic book violence and vulgar sexual misogyny, ‘Persepolis’ presents a more stylised and harrowing reality. The fact that the film is animated has the opposite effect of suspending our belief, instead giving the impression that the truth is too unreal to dramatise. The style of the film is often expressionistic and through this we are able to interpret the emotional turmoil that Marjan experiences, both on a national and personal scale. This also brings lots of humour as we go through puberty with her, experience first (and disappointing) love, and her small rebellions against the system.
Surprisingly, there are also a lot of laughs that arise from the unthinkable situation the Iranians find themselves in after the Revolution. Most memorably, Marjan’s trip down back alleys to buy cassettes of rock music from shady dealers who whisper out band names like Class-A drugs (“Jichael Mackson?”). The film also shows the subtlety with which the system works – at moments I let myself think, “This isn’t too bad, they just have to be respectable in public and not draw attention to themselves”, but then when armed police officers arrive at a flat to break up a party and the young people are so terrified they race across the rooftops (resulting in one of them plunging to their death), suddenly you realise this is an absurd and unfair society to exist in.
Satrapi is an interesting character to follow in this situation. She had relatives connected to the uprising, persecuted by the governments both before and after the Revolution. She had a chance to escape and spend some time abroad but failed to appreciate the freedom she had until she arrived home again. She got married too young simply so she could be alone with her boyfriend. And she has both obeyed and disobeyed the law, as she goes through her journey of self-realisation. It is important to remember, however, her own bias in the story of Iran, and the ease with which we can judge them in the West. The Revolution occurred because the Shah was mistreating citizens and the subsequent elections saw the empowerment of the Islamic Party with 99% of the votes (mostly from uneducated, poor, rural communities). The Islamic Party may have turned into a worse dictatorship than the Shah but it was also the people’s choice and Marjan finds herself rubbing up against other citizens just as much as the authorities. Perhaps the best place for her, personally, is in Europe, where she has now settled, but there are many who prefer the rules and regulations of Iranian society.
Aside from the politics, this is a moving and empowering film, as Marjan seeks to take control of her life and her possibilities, outraged by the inequality and lack of understanding levelled at her in Iran. Sadly, she has to leave, and leave her family and friends, to be able to realise this.
Sunday 25 May 2008
Casablanca (1942)
Not much needs to be said about this film, which is easily amongst the most famous, critically acclaimed and commercially adored movies of all time. The story may be slightly confusing, following several characters as they pass through Casablanca trying to escape to America from the Nazis who reluctantly have no authority, but the charm and romance of it all transcend the surrounding complexities, personified by Humphrey Bogart’s Rick.
The film may be one of the most quotable ever (“Here’s looking at you kid”, “Of all the gin joints in all the world”, “Play it Sam”, etc.) but when Bogart speaks them in his effortless drawl they become throwaway lines for one of the coolest cats ever to appear onscreen. Whilst all around him lose their heads, Rick can not be stirred – until the arrival of a woman from his past (Ingrid Bergman) and her insurgent husband.
It is this old romance that forms the core of the film but it’s also the flashbacks to their blossoming love in Paris that appear the most forced, and badly dated, moments of an otherwise classic film. Every other character to appear in the film is a result of the political context in which the film is set and the romance threatens to be a distraction from the real story. In a way it is, as Rick overcomes his feelings of betrayal and jealousy and returns to ‘the fight’, no longer apathetic and filled with regret.
It’s a film everyone should see at some point. Inevitably it can’t live up to the high status afforded it, just as most people won’t understand why ‘Citizen Kane’ is considered the greatest film of all time, but it is nonetheless an enjoyable and extremely cool classic.
Comizi d'amore (Love Meetings, 1965)
Setting himself the task of documenting an entire nation’s sexual attitudes, Pasolini travelled the length of Italy and interviewed workers, intellectuals, celebrities and children for their opinions on sexual liberation, gender equality, marriage, prostitution, love and abnormal appetites. More than just hearing people talk about sex, the result was a dissection of Italian society, revealing prejudices, desires and fears at a time when there were large divides forming between generations in the aftermath of the Second World War.
The results are surprising, often producing a uniform response from very different areas of society on varied subjects, from the opening section of young boys describing the various ways in which they imagine babies to be born, to Neapolitan men debating why it is important for them to have cheap prostitutes. The females are probably the most revelatory, from young girls unaware that they're not given the same opportunities as boys, to women who encourage it. At one point there is a very voluptuous and desirable woman discussing her fear of sexuality, whilst the men try to appear macho in front of their friends by dismissing "queers" and using crude language.
The general impression is, unsurprisingly, very Italian, featuring particular ideas unique to the Italian culture. In the UK, for example, prostitutes do occupy a recognised position within a community and we certainly do not discuss the importance of visiting them. Alternatively, we have a much more relaxed attitude towards divorce than the predominantly Catholic population of Italy, especially in the poor, working class South.
Undoubtedly attitudes will have changed in Italy today but the film serves as an excellent portrait of a specific time and place, going beyond mere historical detail to capture the thoughts of ordinary people. It may only appeal to those with an interest in Italy or Pasolini but the film is about so much more than just the people in the film – it evokes a period that can never be relived and the moods that defined that period, much like Morin and Rouch's 'Chronique d'un été' in Paris. I’m only jealous that we have nothing similar in the UK.
Further proof, for me at least, that Pasolini’s early work was enough to cement his reputation and perhaps excuse his more impenetrable and whimsical films in later life.
Wednesday 21 May 2008
La Nina Santa (The Holy Girl, 2004)
A rather confused and strange story about a convention of doctors in a hotel, and one in particular with whom the mother flirts and whose soul the religious daughter attempts to save after he gropes her. It doesn’t really work but there are several moments of cinematic invention that suggest the director could do better with other material.
Tuesday 20 May 2008
Santa Sangre (Holy Blood, 1989)
Alejandro Jodorowsky (or however he chose to spell his name at any one point of his life) is enjoying a slight renaissance after the belated DVD release of his 'masterpieces' 'El Topo' and 'The Holy Mountain'. One thing for certain is that he produces highly original, unique cinematic experiences full of both high culture and crude exploitation. I would also go so far as to say he has no real understanding of cinema and his films are more experiments by a man who elsewhere has enjoyed success in theatre, mime, music, tarot cards and comic books.
I can appreciate moments of brilliance in both 'El Topo' and 'The Holy Mountain', although ultimately they are self-indulgent, incomprehensible and perhaps a little pretentious. With 'Santa Sangre', however, Jodorowsky opted for fairly striaghtforward shock-horror, albeit with many fairly bizarre components. As with all his films, we join the action with the feeling that we've already missed something. Thrown into the midst of a confusing narrative we spend the early moments trying to find our feet - in this case in a circus, where the heroes father is the main act and his mother is for some reason the leader of a religious cult whose headquarters have just been destroyed. At this point, the hero, Fenix, is portrayed by Adan Jodorowsky, the director's son, whilst the grown-up Fenix is played by Axel, an older son, both looking extremely like Alejandro himself!
Essentially the film becomes about showcasing Axel excellent mime abilities, when he becomes his mother's arms (after they were cut off by his angry father), seemingly possessing him and causing him to kill women. Unfortunately, it's at this point that the film just becomes stupid, without the deeper, more optimistic message contained within the earlier films. To a certain extent, this could be seen as Jodorowsky's commercial film, although one he was able to fully express himself with. I certainly think he's worth looking at but avoid this one, and take the others with a pinch of salt.
Jeder fur sich und Gott gegen alle (The Enigma of Kaspar Hauser, 1974)
Herzog’s fantastically subtle satire on intellectualism and arrogance features the true story of a young man discovered in a village unable to talk or even walk properly, having spent his whole life looked in a cell by a mysterious man. His subsequent education at the hands of the townsfolk reveals the wisdom of naivety, as well as tugging at the heartstrings.
La Mome (La Vie En Rose, 2007)
This film on the life of Edith Piaf easily falls into the recent genre of musician biopics, and could just as easily feature Johnny Cash or Ray Charles – only its French. So we get the difficult childhood, complicated relationship with a parent, struggle for recognition, drug addiction, extra-marital love, all with an Oscar-worthy performance from Marion Cotillard – except her’s is truly amazing.
Monday 19 May 2008
Six Days Seven Nights (1998)
Thanks to his roles in Star Wars and Indiana Jones, Harrison Ford will go down in the record books for being the highest grossing actor of all time. But that is a reputation built on franchises and an alliance with the might of the Spielberg/Lucas/Coppola alliance, and not really thanks to a great talent for acting. Not that he’s bad, just that he’s perhaps a little limited in his range.
This romantic comedy, then, is not really his cup of tea, and in the role of a hard-living pilot, Ford spends a lot of his time trying not to be Han Solo. This means more overt comedy, to which Ford isn’t really suited, and an emphasis on the fact that he’s not particularly well endowed with survival instincts. Which is unfortunate because he’s trapped on a desert island.
It’s an old formula and this instalment doesn’t buck the trend too much. I personally know of nobody who has ever been marooned on a desert island and yet it seems to keep happening in the movies, no matter how contrived. So here we get a New York assistant editor for a classy women’s magazine on holiday with her boyfriend but suddenly in a plane crash with the rather unsavoury pilot. Fortunately, it doesn’t take them too long to get on, but also, they don’t instantly fall in love either and the film is probably much more interesting for the fact that there are conflicting interests preventing them from getting stuck in immediately.
That doesn’t stop pirates turning up and spoiling the fun, nor David Schwimmer’s appearance as Ross from ‘Friends’. Everything turns out fine though, when an axe and a saw materialise from somewhere and enable the happy couple to fix their plane and fly to safety.
There’s something about Harrison Ford attempting to be funny that I find uneasy, when it’s more than just a sly wisecrack. Nor is he the most charming leading man and when coupled with the heterosexual appealing but famously homosexual Anne Heche there’s very little hope of any chemistry forming between them. Still, at least it tries, and well done to whoever greenlit this project for the sheer gumption they must possess. ‘African Queen’ is still the best version of this story of opposites being forced into affection through extreme circumstances – don’t waste your time here.
Friday 16 May 2008
Fata Morgana (1971)
Abstract and experimental, Herzog has once again visited a cinematic and geographical territory that no one else would dare treat upon. In essence, this is a film-poem created from footage filmed around the Sahara desert, with the after thought of ‘aliens’ visiting the planet and trying to understand Earth through the sparsity of Saharan life. The result is dreamlike and alienating, yet extremely intriguing and unique.
Sunday 11 May 2008
Barton Fink (1991)
One of the Coen Brothers’ best films, this is also surprisingly simple, with its dark humour and subtly surreal setting. John Turturro is great as the ambitious but self-obsessed writer, keen to speak for the people, whilst John Goodman cleverly embodies the dark side of the ‘people’, who drags Barton into hell for failing to listen to him.
Children of Men (2006)
One of the most interesting British films of recent years, albeit by a Mexican, this is an ambitious, futuristic and apocalyptic tale told brilliantly with an incredible eye for detail and some very, very bold long takes. Alfonso Cuaron is the perfect example of a director who understands both his story and the capabilities of modern cinema. In some ways a modern Kubrick.
Saturday 10 May 2008
Shakespeare in Love (1998)
A very whimsical romantic comedy that was better received than it deserved to be, especially with the abominable Fiennes in the lead (originally intended for Daniel Day-Lewis when Julia Roberts had hoped to star). This film was a long time in the making and not entirely worth the wait as, essentially, the plot isn’t much unlike any other romantic comedy. Fortunately, Tom Stoppard helped convert the script into a witty, literary in-joke with clever comparisons between ‘then’ and ‘now’, and backed up by many visual gags. Despite the all-star cast, it’s really just a light film for female literature students.
Les clefs de bagnole (The Car Keys, 2003)
Beginning with a series of confrontations with the biggest actors in France, in which the director/star Laurent Baffie attempts to recruit a sidekick for his new movie, this film quickly descends into clichés and visual tricks all centred around the business of making movies.
Whoever Baffie does succeed in hiring he’s completely unknown to me and I get the impression he’s a fairly washed up actor in France – just as Baffie would be known to French audiences for his television work but not to anyone else. Together, the two rather irritating ‘comedians’ travel through space and time all thanks to the convenience of editing. Along the way they tick every box in terms of what a film can contain (even making a list at one point, to ensure everything gets a mention) and also how a film is made, finding humour in the use of inappropriate sound effects, recurring extras and disorientating jump cuts.
To the easily entertained this might be enjoyable but for me it had a similar effect to watching an exhibition by someone who has just decided to be a video artist and has created a piece revolving around a simple parallel montage, ie. they’re nowhere near as clever and innovative as they think they are.
Monday 5 May 2008
Drowning by Numbers (1988)
In perhaps one of the most meticulous and complex films ever made, director Peter Greenaway displays a perfectionist's eye in this story of three women, all named Cissie Colpitts, who compromise Madgett, their coroner friend, by drowning their husbands. Along the way, we are treated to the repeated use of systems and codes, highly original and impossible games, calcualtions and measurements, all set amongst the breathtaking cinematography of Sasha Vierny that instantly evokes the paintings of Vermeer in their rich colour and composition, and the striking music of Michael Nyman, both uplifting and unsettling.
Like his contemporary, Derek Jarman, Greenaway has made a living from making films that no-one else possibly could. The combination of high art with science and systems is immediately distinctive, and the original vision he has is always perfectly realised in an intriguing mix of genres (usually involving some element of crime or thriller) and a unique visual style. Here that style extends from mise en scene to set design and costume, giving the impression of a reality only just removed from ours.
Whilst the women, a mother and two daughters all aged far apart, represent sexuality and cunning, Madgett and his child assistant Smut are symbolic of order and practicality, no matter how complicated. A third party of investigative friends and relatives, suspicious of the recent deaths, stands as a threat to the games played between the women and Madgett, as they use his sexual weaknesses to their advantage, and the film builds through repetition to an explosive climax - marked by the appearance of the numbers 1 - 100, often accompanying a corpse, as it is Smut's tradition to mark a death with fireworks and a painted number. It has long been a cineaste's test to identify each number and this further represents a game that Greenaway is playing, this time with the audience. As the games grow more complicated we approach the disastrous and deadly climax, which, like everything else in the film, goes beyond our expectations.
Words can't really do justice to such a visual film, and such a visual director. For me, Peter Greenaway is criminally ignored in this country, even by critics who prefer the deceased Jarman. Finding it increasingly difficult to find distribution for his work, Greenaway is becoming ever more experimental and challenging, and isolated from the mainstream, but a visit to his early work (even the short films he made for years before his first feature) is extremely worthwhile, especially as his systems are interweaved from film to film and the best way to appreciate his work is as a whole. 'Drowning by Numbers' was the first of his films I saw and it has always retained a special place in my heart, but I also recommend 'A Zed and Two Noughts', 'A Cook, A Thief, His Wife and Her Lover' and 'The Draughtman's Contract', as well as the shorts 'Dear Phone' and 'A Walk Through H' - each one incredibly distinctive but unmistakably the work of a cinematic genius.
Shine (1996)
I remember seeing this film when I was much younger and being incredibly impressed by it - blown away by the intensity of the story and the performances - and introduced to a type of film I'd never seen before. Watching it again now, having seen many other films since, 'Shine' has lost some of its power but is still undoubtably a fine portrait of a unique and complicated talent. Thankfully, the pianist David Helfgott has never been too famous, so this never strays down the path of polished biopic that we see in 'Walk the Line' and 'Ray'. Instead, this feels much more like an art film, and all the more unusual for being Australian.
The story follows the incredibly gifted young David from childhood to adolescence, consistently pressurised by his loving but strict father into winning every competition and always striving to be the best. It is this relationship that drives the film and makes it so fascinating. His father is incredibly ambitious and yet intensely protective, wishing for his son to be the greatest pianist in the world but refusing to allow anyone else to teach him. His past as an Eastern European Jew during World War Two is never directly referred to but we can see quite plainly that his suffering has caused both this ambition and protection for his son.
The film covers many years, from the boy David to adolescent David (Noah Taylor), who rebels against his father to study at the Royal College of London (where John Gielgud plays his tutor). Here he lives in poverty, unable to care for himself and putting his music before everything else. He may have been disowned by his father but his shadow still looms large and it is the 'unplayable' Rachmaninov symphony his father had always aimed for, that remains David's ultimate goal in piano playing - and his downfall.
The later part of the film sees Geoffrey Rush make his film debut with an Oscar-winning performance as the adult David, driven insane by his obsession and failure to live up to his father's aspirations. For years he hasn't touched a piano and lives in a care home, but thanks to the friendship of several kind women he is gradually reintegrated into society, finds love and marriage, and begins to play again.
The film is easily moving without resorting to sentimentality and the director allows his actors to fully explore their relatively simple characters and unearth the complexities within. The film may have put Geoffrey Rush on the map but he has relatively little screentime and Noah Taylor is equally mesmerising. The real genius here, however, is Armin Mueller-Stalh who gives an absolutely stunning performance as David's father - perfectly encapsulting the brutality and tenderness of his love. It's easy to see how David had been driven to insanity with an overbearing figure he could never please. For me, Mueller-Stahl's performance is one of the greatest in cinema - a simple man unable to see the impossibility of his dreams, and the weight with which they bear down on his son.
This is easily one of the best Australian films ever made, and probably one of the finest 'art' films in the English language. Yet again, I give it a strong recommendation.
Boy A (2007)
To be honest, this is only a TV movie, but it's so excellent I wanted to include it here. Telling the story of a young man released into society after many years in prison for the murder of a girl when he was still a boy (inspired by the release of Jamie Bulger's killers), this film offers a remarkable portrait of an adult discovering the world through the eyes of a child. The story covers the responsibilities of work, first love and sexual awakening, alcohol and drug use, social discomfort and a beautiful surrogate father and son relationship between Jack and his parole officer who helps him reintegrate into society.
The real treat of the film is the performance of Andrew Garfield as Jack, an incredibly sensitive and understated portrayal of a shy but strong-willed young man in a uniquely difficult situation. His performance is a real revelation and I definitely earmark him for a very exciting career in the future. He is supported by equally fine performances from all the cast, particularly Peter Mullan as his case worker, who has his own intriguing side-plot featuring his wayward son and the conflict between his professional role caring for boys and his troubled interactions with his own child.
The direction from John Crowley is great and the film is subtle even during some more slightly forced situations, such as when Jack accidentally takes an Ecstasy pill in a club (a scene which brilliantly captures the anxiety and adrenaline of the moment), or the scenes between the young Jack and his friend, where potential motives for their aggressive behaviour are proposed. I particularly like the scene where the very-much-under-the-influence Jack is dancing in the club - I'm seeing it increasingly more, in 'Beau Travail' or 'Requiem', but a physical dance still works brilliantly at expressing a character's awakening to freedom. Equally, I was impressed by the performances drawn out of the young children discussing very uncomfortable subjects such as anal rape by a sibling. It's dark but very moving and tender and I'm very excited to see what the director does next.
This is certainly one of the best things I've seen on TV in a long, long time and I'd put it up there with 'Nature Boy' as an excellent TV-made exploration of unconventional late adolescence. I've already seen it twice now, and I also hear it's been sold to the States, so hopefully this film will stay around for audiences to continue discovering. I really recommend this film, and also Andrew Garfield - an amazing talent. The film was adapted from a novel by Jonathan Trigell, which I'll definitely be seeking out.
Tess (1979)
Thomas Hardy is, in my opinion, one of the greatest English writers ever, and certainly one of the most cinematic writers, resulting in several excellent adaptations. Alongside Schlesinger's 'Far From the Madding Crowd' and Winterbottom's 'Jude' can be filed Roman Polanski's excellent treatment of 'Tess of the d'Urbervilles'. The stunning story of a poor girl ruined by the discovery that she is descended from a wealthy family, as those around her seek to exploit and abuse her, this is also, I feel, Polanski's most accomplished film.
Shot with a certain sentimentality for the English countryside in the permanent summer sunset of the film, the story soon turns much darker and the epic tale moves to romance, misery, ruin and, finally, a story of lovers on the run. The film couldn't really go wrong with such an excellent tale, but Polanski's direction is superbly subtle here, with a series of distant, long takes allowing the easy pace of rural life to control the film and the rolling hills to consume the story. There's an evocation of Sergio Leone, I felt, in the long moments of silence building to a climax, even if the result is not always so menacing, and combined with the rural setting and 19th century backdrop, Polanski creates a very modern feeling to a period that so easily traps BBC costume dramas, without resorting to modernist film techniques.
The young Natassia Kinski in the lead role performs well, despite a slightly confusing accent that teeters between her native American-German and West Country. The supporting cast maintain a feeling of rural community, with only a few men shining through and affecting Tess' life. The locations play an equally important part and the scene in the fog-enshrouded Stonehenge at the film's end is stunning.
For me, it's certainly one of Polanski's best, although my personal favourite probably remains 'Cul-de-Sac'. It's also one of the best period, literary adaptations, that avoids sentiment but fully communicates literary drama and emotions.
Coyote Ugly (2000)
I'm clearly the wrong audience for a film like this and come to think of it, I don't know why I watched it - a problem that arises when there's nothing but your female housemate's old videos in the flat.
The basic story is of the young and innocent girl, Violet (Piper Perabo) coming to the big city to 'make it' - in this case, as a writer of sappy love songs - but struggles with confidence. Through a life changing experience at a bar, where she is encouraged to dance provocatively on the bar and sing along with the jukebox, she finds her voice and becomes a star. Yeah, I know.
My biggest problem with the film is that by performing at the Coyote Ugly bar, a place where underdressed women dance with one another (occasionally pulling women out of the audience for a preposterously well choreographed line dance) for the pleasure of bellowing men, and are required to appear sexually available but not be, is supposedly good for Violet, and helps her realise her independence. Fortunately her father, John Goodman (I'm so disappointed - nearly as much as with 'The Flintstones') is disgusted by this turn of events and she comes to realise she is wasting her talents there. Nevertheless, the film still ends there, with everyone one big happy family. I just hope young girls don't take the film too seriously and think that by marketing themselves as sexual objects, they will achieve their goals.
There's also, of course, a love story with a genuinely sweet chap who tries to help Violet overcome her stage fright. This, to me, seems much more healthy for her, even if it does produce some terrible songs. The staff at Coyote Ugly don't actually care about her - they just want to make money - so I'm shocked that they become an acceptable surrogate family for her.
It's just a load of rubbish really.
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