the Moving World Film Review

My Favourite Films of the Year

2008-12-31T13:00:00.006Z

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.

The Princess Diaries (2001)

2008-12-31T12:48:00.003Z

Alright actually. Quite bland but some genuinely funny moments.

Interview With The Vampire (1994)

2008-12-28T23:17:00.001Z

Very hammy and a little pointless.

The French Lieutenant's Woman (1981)

2008-12-27T12:53:00.002Z

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)

2008-12-27T12:51:00.002Z

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)

2008-12-27T12:50:00.001Z

Fairly entertaining, although a little over the top - until the end where it's just one step too far into absurdity.

Wallace and Gromit in the Curse of the Were-Rabbit (2005)

2008-12-25T22:57:00.003Z

Quintessentially English and old-fashioned, like the entertainment that got us through World War Two, but far more witty.

And Now For Something Completely Different (1971)

2008-12-25T22:56:00.000Z

The best kind of silly.

White Christmas (1954)

2008-12-23T00:41:00.001Z

Warm and nostalgic - perfect for Christmas.

V For Vendetta (2005)

2008-12-21T01:31:00.001Z

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)

2008-12-21T01:27:00.002Z

Tense, inventive, thrilling and engaging with fine performances (particularly Casey Affleck's revelatory turn) and excellent direction.

Wild River (1960)

2008-12-20T03:32:00.001Z

A potentially interesting drama spoilt by the unnecessary romance sub-plot, but as with all Kazan films the performances are ahead of their time.

Oyu-sama (Miss Oyu, 1951)

2008-12-18T20:46:00.001Z

Passionately restrained, with touches of melodrama. Not a remarkable addition to Mizoguchi's oeuvre.

Notting Hill (1999)

2008-12-17T19:38:00.001Z

Average.

The Blues Brothers (1980)

2008-12-16T19:19:00.001Z

Riotous fun with fantastic soundtrack and stunning musical cast.

Four Weddings and a Funeral (1994)

2008-12-16T12:34:00.001Z

Not really all that funny, sad or romantic but fairly enjoyable.

Pretty Woman (1990)

2008-12-12T11:02:00.000Z

Quite a charming fairy tale romance.

Ne Touchez Pas La Hache (Don't Touch The Axe, 2007)

2008-12-12T10:59:00.001Z

Classically impassioned and a reminder that no one did brooding intensity quite like Guillaume Depardieu - a great loss.

Distant Voices, Still Lives (1988)

2008-12-08T10:18:00.003Z

Evocative and celebratory elegy.

The Last Picture Show (1971)

2008-12-08T10:18:00.001Z

Excellent.

Cat On a Hot Tin Roof (1958)

2008-12-08T10:17:00.000Z

Spirited.

Look Who's Talking (1989)

2008-12-08T10:16:00.000Z

Charming.

Goal II: Living the Dream (2007)

2008-12-03T03:26:00.001Z

A little too perfect and unbelievable, but a good formula for the football movie that doesn't borrow too heavily from US sports movies.

Coming Home (1978)

2008-12-03T03:25:00.000Z

Stirring.

Syndromes and a Century (2007)

2008-12-02T11:33:00.001Z

Spiritual but not engaging.

Ordet (1955)

2008-12-01T02:01:00.002Z

Reverent.

Barb Wire (1996)

2008-12-01T02:01:00.001Z

Ridiculous.

Rodger Dodger (2002)

2008-11-28T01:46:00.001Z

Seductive.

Gloria (1980)

2008-11-25T22:14:00.000Z

Sassy.

Francesco, giullare di Dio (Francis, God's Jester, 1950)

2008-11-20T17:20:00.000Z

Sweet.

An American Tail (1986)

2008-11-18T23:51:00.001Z

Nostalgic.

Juno (2007)

2008-11-18T23:49:00.001Z

Quirky.

Sweeney Todd: The Demon Barber of Fleet Street (2007)

2008-11-18T23:42:00.000Z

Cheesy and boring.

The Plague Dogs (1982)

2008-11-17T15:42:00.002Z

Harrowing.

Chinmoku (Silence, 1971)

2008-11-17T01:31:00.001Z

Intriguing.

Sixteen Candles (1984)

2008-11-17T01:30:00.003Z

Pubescent.

Return to Oz (1985)

2008-11-16T23:05:00.002Z

Freaky.

Evita (1996)

2008-11-16T23:04:00.002Z

Uninformative and tacky.

The Big Lebowski (1998)

2008-11-13T10:12:00.001Z

Hilarious and intelligent.

Mighty Aphrodite (1995)

2008-11-13T10:11:00.001Z

Inconsequential.

Hunger (2008)

2008-11-13T10:09:00.002Z

Powerful and harrowing; wonderfully artistic, engaging and moving.

The Secret of NIMH (1982)

2008-11-10T17:32:00.001Z

Unique.

Chicken Little (2005)

2008-11-10T17:31:00.003Z

Weird.

The Savages (2008)

2008-11-10T17:31:00.002Z

Coming soon...

Fargo (1996)

2008-11-10T17:30:00.004Z

Excellent.

I'm Not There (2007)

2008-11-10T17:30:00.003Z

Confused.

Permanent Vacation (1980)

2008-11-10T17:29:00.001Z

Hip.

BASEketball (1998)

2008-11-10T17:28:00.002Z

Stupid.

Margot at the Wedding (2008)

2008-11-01T03:07:00.002Z

Disappointing.

Burn After Reading (2008)

2008-11-01T03:05:00.001Z

Inconsequential.

Hancock (2008)

2008-10-27T11:24:00.008Z

Unsatisfying.

Step-Brothers (2008)

2008-10-27T11:24:00.007Z

Sweet.

You Don't Mess With The Zohan (2008)

2008-10-27T11:24:00.006Z

Silly.

Tropic Thunder (2008)

2008-10-27T11:23:00.002Z

Predictable.

WALL-E (2008)

2008-10-27T11:22:00.004Z

Endearing.

Liverpool (2008)

2008-10-27T11:22:00.003Z

Terrible, dull, unintellectual, arrogant, pointless, embarrassing and frustrating.

The Witches (1990)

2008-10-19T19:23:00.002+01:00

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.

Exponerad (Exposed, 1971)

2008-10-19T17:03:00.005+01:00

Boring.

Intolerance (1916)

2008-10-19T17:03:00.004+01:00

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.

Tian bian yi duo yun (The Wayward Cloud, 2005)

2008-10-19T17:01:00.001+01:00

Bizarre.

Anita - ur en tonarsflickas dagbok (Anita, 1973)

2008-10-19T16:58:00.002+01:00

Dull.

The Darjeeling Limited (2007)

2008-10-05T15:15:00.001+01:00

Heartwarming.

Guns at Batasi (1964)

2008-09-26T15:27:00.002+01:00

Fantastic.

The Thief of Baghdad (1940)

2008-09-26T15:26:00.002+01:00

Splendorous.

Female Perversions (1996)

2008-09-26T15:25:00.001+01:00

Over-reaching.

Le Secret (2000)

2008-09-23T17:15:00.001+01:00

Embarrassing.

Ladies in Lavender (2004)

2008-09-20T20:16:00.001+01:00

Wet.

Alila (2003)

2008-09-20T01:57:00.001+01:00

Annoying.

Kedma (2002)

2008-09-20T01:54:00.002+01:00

Engaging.

The Left Hand of God (1955)

2008-09-16T19:26:00.002+01:00

Uninteresting.

Moi, Pierre Riviere, ayant egorge ma mere, ma souer et mon frere... (I, Pierre Riviere, having slaughtered my mother, my sister and my brother; 1976)

2008-09-14T09:54:00.005+01:00

Engrossing.

During One Night (1961)

2008-09-14T02:04:00.003+01:00

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.

A Guide to Recognising Your Saints (2006)

2008-09-14T00:43:00.001+01:00

Edgy.

Escape to Victory (1981)

2008-09-13T15:08:00.002+01:00

Victorious.

Marketa Lazarova (1967)

2008-09-13T15:06:00.001+01:00

Experimental.

Tender Mercies (1984)

2008-09-13T15:04:00.000+01:00

Coming soon...

Oliver Twist (1948)

2008-09-08T18:34:00.002+01:00

Melodramatic.

Calamari Union (1985)

2008-09-08T18:32:00.001+01:00

Silly.

Hamlet liikemaailmassa (Hamlet Goes Business, 1987)

2008-09-08T18:31:00.001+01:00

Moody.

Braveheart (1995)

2008-09-07T21:42:00.001+01:00

Stirring.

Great Expectations (1946)

2008-09-07T21:41:00.001+01:00

Classic.

Our Man in Havana (1959)

2008-09-07T15:33:00.005+01:00

Charming.

Ask the Dust (2006)

2008-09-07T15:33:00.003+01:00

Tacky.

The Abyss (1989)

2008-09-07T15:32:00.001+01:00

Mesmerising.

La Vie de boheme (1992)

2008-09-07T15:31:00.001+01:00

Tragically funny,

My Way Home (1978)

2008-08-31T16:06:00.002+01:00

Charming.

My Ain Folk (1973)

2008-08-31T16:05:00.005+01:00

Poignant.

My Childhood (1972)

2008-08-31T16:05:00.004+01:00

Powerful.

The Big Easy (1987)

2008-08-31T16:04:00.002+01:00

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)

2008-08-31T16:03:00.002+01:00

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.

Rio das Mortes (1971)

2008-08-30T20:34:00.002+01:00

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.

La ley del deseo (Law of Desire, 1987)

2008-08-30T14:43:00.001+01:00

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)

2008-08-30T14:39:00.001+01:00

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.

Der Amerikanische Soldat (The American Soldier, 1970)

2008-08-30T14:37:00.001+01:00

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 Fountain (2006)

2008-08-30T14:35:00.001+01:00

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)

2008-08-30T14:33:00.002+01:00

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.

Ladri di biciclette (Bicycle Thieves, 1948)

2008-08-17T23:21:00.002+01:00

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.

Radio On (1980)

2008-08-09T22:23:00.001+01:00

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)

2008-08-09T22:22:00.001+01:00

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.

Rikos ja rangaistus (Crime and Punishment, 1983)

2008-08-03T17:36:00.001+01:00

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.