Juno, I have lost my fangs
Tuesday, February 19, 2008
I loved this film - it has that indie aura surrounding it with the shtick and the spiel, but through its lack of weirdness it has astoundingly broken into the mainstream and become a great hit. Kimya Dawson, The Moldy Peaches and Antsy Pants also make for a stellar soundtrack. A must see.
Labels: Movie
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What I have been watching lately
Friday, November 23, 2007
Since I have been working at Ocado, developing my own sites and from time to time playing Halo 3 on Xbox live, I haven't had time to finish off watching Twin Peaks season 2 or the last two and a half seasons of The X-files. It doesn't help therefore that I have been subscribing myself to even more television that I simply don't have the time for anymore.
Boston Legal:
Californication:
Battlestar Galactica Razor
Then there were the films...
Superbad (awesome)
Shooter (meh)
The Bourne Ultimatum (awesome)
1408 (good)
Disturbia (much better than expected) - Shia is someone to watch.
Shoot Em Up (a good laugh but nothing fabulous)
Boston Legal:
Californication:
Battlestar Galactica Razor
Then there were the films...
Superbad (awesome)
Shooter (meh)
The Bourne Ultimatum (awesome)
1408 (good)
Disturbia (much better than expected) - Shia is someone to watch.
Shoot Em Up (a good laugh but nothing fabulous)
The Worst Films Ever
Thursday, June 21, 2007
This is England
Wednesday, May 16, 2007
Incredible, incredible film with a stunning score by the ever-great Einaudi. I highly recommend this.
Labels: Movie
The Fountain
Thursday, April 12, 2007
Aronofsky has done it again, with Hugh Jackman and Rachel Weisz; this time pulling off a magnanimous beauty - a love story spanning a thousand years with a quivering of death's meaning. Clint Mansell with the Kronos Quartet once again provides another epic soundtrack to match their previous work made for Aronofsky's Requiem for a Dream. Fountain is magnificent to watch and feel, a marvel. Just look.
Pure slow motion testosterone
Saturday, March 31, 2007
300. No more, no less. Nothing more, nothing less. It's a feature length trailer of epic proportions by a director "with a machine gun for a dick".
Hard Candy
Thursday, March 29, 2007
Saw this a couple of nights ago. Pretty hard to watch if you are a guy. I've heard people state that this stimulates all sorts of debates about paedophilia and vigilantism; personally it seems like this extreme setting is merely justification for a graphic torture film (so is the Lion's gate way) involving some crazy bitch attacking some proposed kiddie-lover. The true menace to society would be illustrated in a sickening role reversal, honestly I believe this film achieves little more than some light (albeit gritty) entertainment. Plus I prefer soft gums.
Tideland
Tuesday, March 20, 2007
Terry Gilliam back on form with a stunning performance by Jodelle Ferland. I feel like a person of few words today so I shall just say that I really loved this film and then show you some beautiful pictures:
Slither
Sunday, March 18, 2007
Now that's what I'm talking about... "Somthing's wrong with me" "It's a bee sting" "That bitch is hardcore". I love a good B-movie gore-fest.
Stranger than Fiction
Sunday, March 18, 2007
Starts off interesting but quickly falls away into a sloppy sentimental love story with predictable plot arcs and dialogue that feigns intellect; the book - the subject of the film - sounds and feels like those discount romance novels you pick up at service stations. I had high hopes for this after the first ten minutes, but after an hour it felt like that appalling Sarah Michelle Gellar film "Simply Irresistible" but with less magic and fairy dust. In fact, with each second this film grows exponentially worse and it concludes in the most soppy and pathetic manner possible, betraying the morals and storytelling prowess the film writers tell themselves just moments beforehand. Gah.
But I'm sure your girlfriends would love it.
Viridiana (Luis Buñuel)
Thursday, March 08, 2007
Using my free WHSmith's online rental service I borrowed Luis Buñuel's Viridiana. As a Christian the subject matter proved challenging, but I do not regret watching the movie - for faith is merely a belief when left unchallenged (nevertheless, I am not a Catholic and this probably helped - the movie itself has been condemned by the Vatican).
To summarise the plot, without unduly giving away any of the storyline I refer to infofreak's summary as posted on IMDB:
I agree with or empathise with many of this film's finer points and believe that rather than assaulting the christian teachings it highlights the intricacies and difficulties of interpreting and following them without proper guidance. The film's portrayal of the "poor-afflicted" that fail to change their ways amid outpourings of generosity is scathing and without sorrow but in no way dehumanising. It is these elements that create the most compelling cinema in the 'Last Supper' fall out; from laughter to debauchery and violence and back again.
Reading into the history of Spain and the situation that led to this film's birth I have come to understand the message within. Loosely, for the symbolism and hidden meaning weaved throughout could be discussed only thoroughly in a short book, is that prosperity and life comes through dedication and hard work by those that wish to make something of themselves. And that a life spent helping those that want it but do not respect it, is the harder and less rewarding (both to yourself and to society) path, one destined for betrayal and never-ending hardship.
I personally respect those that dedicate their life to the hardships of others, sharing the burdens in attempt to reimburse others losses. I don't believe Buñuel's portrayal of the rotten's inability to change to be true, yet it does hold weight with a number of human traits-the sins of pride, greed and lust being prime examples. I do however agree that this path of unbridled generosity to everyone and anyone can be damaging and is certainly not the correct route for social recovery and rejuvenation. Instead respect should be given to those that are capable and worthy of making it on their own, and care given to those that fall by the way side. In neither case should one preside over the other - finding the best balance seems the key to social and economic prosperity for everyone.
To wrap this up I couldn't find a clip from the film but Google Video has a fascinating interview which I have embedded below:
To summarise the plot, without unduly giving away any of the storyline I refer to infofreak's summary as posted on IMDB:
Beautiful and devout Viridiana (Silvia Pinal in an impressive performance) is about to take her final vows as a nun, and enter a convent. At the urging of her Mother Superior she takes a short break to visit her estranged Uncle and benefactor Don Jaime (Bunuel regular, the always wonderful Fernando Rey). Reluctantly she does so thinking it will be the last time she sees him before devoting her life to God. Don Jaime, a complex man, has other plans for Viridiana - he wants to take her as his wife. What follows is unpredictable, fascinating and an almost perfect piece of film making. Highly controversial in its day, and accused of blasphemy, it may not be as shocking to our cynical, secular eyes, but it still packs a punch, and is highly recommended. One of Luis Bunuel's greatest achievements.
I agree with or empathise with many of this film's finer points and believe that rather than assaulting the christian teachings it highlights the intricacies and difficulties of interpreting and following them without proper guidance. The film's portrayal of the "poor-afflicted" that fail to change their ways amid outpourings of generosity is scathing and without sorrow but in no way dehumanising. It is these elements that create the most compelling cinema in the 'Last Supper' fall out; from laughter to debauchery and violence and back again.
Reading into the history of Spain and the situation that led to this film's birth I have come to understand the message within. Loosely, for the symbolism and hidden meaning weaved throughout could be discussed only thoroughly in a short book, is that prosperity and life comes through dedication and hard work by those that wish to make something of themselves. And that a life spent helping those that want it but do not respect it, is the harder and less rewarding (both to yourself and to society) path, one destined for betrayal and never-ending hardship.
I personally respect those that dedicate their life to the hardships of others, sharing the burdens in attempt to reimburse others losses. I don't believe Buñuel's portrayal of the rotten's inability to change to be true, yet it does hold weight with a number of human traits-the sins of pride, greed and lust being prime examples. I do however agree that this path of unbridled generosity to everyone and anyone can be damaging and is certainly not the correct route for social recovery and rejuvenation. Instead respect should be given to those that are capable and worthy of making it on their own, and care given to those that fall by the way side. In neither case should one preside over the other - finding the best balance seems the key to social and economic prosperity for everyone.
To wrap this up I couldn't find a clip from the film but Google Video has a fascinating interview which I have embedded below:
Labels: Art-house, Documentary, Movie
Edgar Wright & Simon Pegg-athon
Tuesday, February 27, 2007
Just thought I would take some time out to share my love for their work:
Spaced
Shaun of the Dead
and now...
Hot Fuzz
and here's another oldie with Simon Pegg that many may have forgotten about:
Big Train
Spaced
Shaun of the Dead
and now...
Hot Fuzz
and here's another oldie with Simon Pegg that many may have forgotten about:
Big Train
A brief history of my January viewings
Monday, February 19, 2007
Match Point - a very different Woody Allen film. So very very tense, the perfect thriller?
3-Iron - A quiet and alluring love story, astounding work by Kim Ki-duk.
Oldboy - Another Korean film. I've been meaning to watch this for 6 months now. Having seen this I must now seek out the rest of Chan-wook Park's vengeance trilogy.
Lady in the Water - An interesting fairy tale but nothing to match Pan's Labyrinth. I also spent the whole movie trying to work out the twist.
Le Ballon Rouge - a short and sweet french film.
Ong Bak - A fun filled action packed romp (or just another OTT kung fu flick, though at least better than most - but they did make sure to show all the good bits twice... every big jump was shown from ten different angles).
Wait Until Dark - Another top thriller, although Hepburn's portrayal of a blind house wife isn't entirely convincing. This trailer is horrific.
Renaissance - The supermodel of movies - beauty without brains.
Miami Vice - Terrible.
Adrift - Terrible.
Godard's Week End
Monday, February 05, 2007
That movie found in the trash, the tag line, "A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams." really says nothing. This is categorically the most weird, perplexing and interesting film I have recently seen. Whilst I understand some moments my lack of knowledge of the era, politics and movie history leaves me lost in the subtleties and the brilliance, that many reviewers claim, is beyond me. I would love it if a kind sole could point me in the direction of a good analysis or some background information. The above video is a 10 minute clip from the movie.
Labels: Movie
The Russian Dolls (Poupées russes, Les)
Friday, January 26, 2007
I caught this last night without any prior knowledge of the storyline, premise or Cédric Klapisch except that I recognised the title "L'Auberge espagnole", a phrase that comes in reference to Klapisch's previous film. The trailer doesn't paint the perfect picture; it is a love story that tells us to avoid clichés in writing before throwing them back at us in a delightfully unpredictable fashion. Xavier Rousseau reminded me of Tomas in The Unbearable Lightness of Being adaptation, maybe he just bears a likeness to Daniel Day Lewis, but I could see Rousseau calmly echoing that "Take off your clothes" catchphrase. Kelly Reilly is delightful to watch. Dolls is an effusive trans-culture love tale that maintains a heartwarming questioning outlook on the great mystery without having to resort to mindless sickening sweetness akin to the colour pink. Such is, a self respecting movie goer can happily watch a romantic comedy without needing a bucket, and this is a significant achievement in its own right.
Little Miss Sunshine
Friday, January 26, 2007
Now officially my favourite film of 2006, I thought I would post this trailer considering Abigail Breslin has been nominated for an oscar in this years shortlist, by the way... she is only 10 years old. I sincerely hope this feature performs well at the academy awards (which has snubbed The Prestige in my opinion). I shall also note that Breslin is the little girl in the film "Keane" that I commented on a few weeks back, where her performance is once again stellar yet the films are starkly different.
If you've not yet seen Little Miss Sunshine I urge you to buy the DVD or rent it, it is one that cannot be missed. The DVD came out last monday here in the UK.
My Ingmar Bergman Affair
Thursday, December 21, 2006
Following my enjoyment of Ingmar Bergman's Seventh Seal, my first experience of his work, I decided to raid the SRC at the library for more delights. I chose Persona, (above), Wild Strawberries (below) and The Silence (bottom), placed in order of favourites.
Persona has become an instant top five movie of mine for its incredible performances and eye opening insights into knowledge and perceived knowledge of ourselves and others and the resulting affects they have on our actions. It follows the story of a nurse (Alma, Bibi Andersson) and her patient (Vogler, Liv Ullmann), a patient that has seemingly decided not to talk-though we don't know why, as they retreat to a silent empty seaside locale in attempts to improve Vogler's condition.
Sans Soleil or Sunless (1983)
Thursday, December 14, 2006
"The first image he spoke to me about was the one of the three children on a road in Iceland in 1965.
He said that for him it was the image of happiness and also that he had tried several times to link it to other images, but it never worked.
He wrote me:
one day I'll have to put it all alone at the beginning of a film with a long stretch of black; If they have not seen the happiness in the image, at least they will see the black."
"I think of a world where each memory can create its own legend."
I really cannot think how to put into words my sentiments towards this part documentary, part fiction, seemingly science fiction mosaic of stunning and obscure footage that is accompanied by an easy-to-listen to narration questioning time, memory and space and the instantly recognizable Isao Tomita accompaniment. Once more my intellect and interest has been stimulated by dialogue and striking, impacting visual imagery that I shall forever carry with me. The single framed direct stare of the girl on the street, the Icelandic conclusion, the Zone, the man from 4001 where total recall is memory anesthesised and the bobbing heads of the sleeping Japanese commuters that are paralleled with the Asian confrontation of Horror in film.
Sans Soleil is a work of lingering and subtle beauty that percolates through my bloodstream, informing the hours and days, changing the things and ways I see... - Jonathan Rimorin.
For discussions and a script write up head here.
Labels: Documentary, Movie
The Seventh Seal
Wednesday, December 13, 2006
The Seventh Seal, or Det Sjunde Inseglet in its home tongue, is the first of Bergman's features I have encountered after I decided to take it out on loan from the university library. Within it a man seeks answers about life, death, and the existence of God as he plays chess against the Grim Reaper during the Black Plague. The YouTube video above shows their first meeting and the commencement of the game, sadly there are no subtitles so you better go away and learn Swedish. Or:
KNIGHT:Who are you?
DEATH: I am Death.
KNIGHT: Have you come for me?
DEATH: I have been walking by your side for a long time.
KNIGHT:That I know.
DEATH:Are you prepared?
KNIGHT:My body is frightened, but I am not.
DEATH:Well, there is no shame in that.
KNIGHT: Wait a moment.
DEATH: That's what they all say. I grant no reprieves.
KNIGHT:You play chess, don't you?
DEATH:How did you know that?
KNIGHT: I have seen it in paintings and heard it sung in ballads.
DEATH:Yes, in fact I'm quite a good chess player.
KNIGHT: But you can't be better than I am.
DEATH :Why do you want to play chess with me?
KNIGHT: I have my reasons.
DEATH: That is your privilege.
The assortment of characters and their theological and philosophical arguments combined with quirky, humorous and interesting interactions created within me the exact same sentiments I had when I read Voltaire's Candide. That feeling of discovering, through reading or watching, something utterly brilliant and enlightening whilst being thoroughly entertained both through humour and intellectual stimulation.
Matt Huls' review at IMDB encapsulates my feelings in a nice package of four paragraphs:
The mysteries of religion and death have long been a popular focus among artists of all media, including film. And while many films question these mysteries, they seldom provide any real insight into the world of the unknown. In Ingmar Bergman's THE SEVENTH SEAL, these mysteries are not only questioned; they are dissected, splayed, and scrutinized.
THE SEVENTH SEAL could very well serve as sort of a manifesto for existentialism. Its deep acuity and haunting imagery is powerful enough to jar even passive viewers out of their complacency and force them to examine their own reality. The delicately crafted story centers around a 14th century knight named Antonius Block and his ongoing game of chess with a shadowy, hooded figure: Death. Bergman uses this allegory not just to personify death, but to illustrate the lengths man will go to in order to avoid it. In the end, however, Death is a much better player than any of us, and though he may humor some of his opponents by letting them think that they have the advantage, the end result is inevitable: Death always wins. No matter how skillfully we plan our moves or how determined we are to win, we can never beat Death.
In Antonius's search for answers, he encounters a variety of very unique characters, each with their own outlook on life, death, faith, fear and love. Their commentary on such matters is often dryly funny and always brilliant, continuously and effectively challenging our perceptions of the world around us. For me, the dialogue was definitely the high point of the film, as it was extremely thought-provoking and carefully constructed throughout. Almost every line spoken is, in one way or another, daunting and unforgettable. Jöns's description of love as "the blackest of all plagues" is a quote that will forever be engraved in my mind.
THE SEVENTH SEAL truly is a remarkable accomplishment in the world of cinema. It is a deep, mesmerizing, and darkly beautiful work of art. More importantly, THE SEVENTH SEAL is one of those rare movies that doesn't just entertain, but also has the power to change the way one thinks.
I have now picked up Wild Strawberries to watch ASAP.
Pan's Labyrinth
Tuesday, December 12, 2006
I caught this last Friday in a sell out screening at Warwick Arts Centre. Guillermo Del Toro has really created something quite special, combining a magnificent and provoking tale of civil war with the fantasy realms of a trapped young girl, Ofelia. Not for the faint of heart, but drag them along anyway.
Flushed Away
Monday, December 04, 2006
A tidy little kids comedy that should have been released in the summer, its "Christmas holiday season" promotion seems out of place with the summer and World Cup fever content of last July. Obviously the production and release were delayed, maybe it was the removal of the little butlers as seen in this trailer which are nowhere to be seen within the feature. I laughed out loud and the film genuinely appeals to the whole family or even just your girlfriend that doesn't like Borat or Will Ferrell. A lot of the best jokes are in the trailer, but thankfully not all of them. As you leave you may have to brush off the ever present stereotypes.
Starter for Ten
Thursday, November 30, 2006
A quaint little Americanized British university comedy. The quips were funny, the innuendos laughable and The Graduate references hilarious. I may be biased towards liking this film; it's rare I see a film set in my home town (Bristol) amidst streets and scenes I have walked everyday for 7 years of my life; I'm also a sucker for 80s pop which may have been the reason I was sucked into the Donnie Darko phase back in 2003. I do have to say though, all the best bits are in the trailer, yet it was still worth my £2.50 in coppers. £2.50 is such an excellent price to pay for a film. Don't expect groundbreaking film making.
The stars, Rebecca Hall, Alice Eve and Tom Allen.
On an unrelated note, you can see my IMDB Voting history here.
Keane (Damian Lewis)
Wednesday, November 29, 2006
This is the review that led me to seek out this film and I could not phrase my feelings towards the movie any better. It is a review from my site Indie Cult by a friend, Cory Mailliard:
Lodge Kerrigan’s amazing Keane begins with its main character at rock bottom. With nowhere else to go, the audience is left to watch helplessly as he begins to chip away at the concrete to get even lower. Endlessly fascinating but not exactly what you would call entertaining, Keane is the kind of film that will be viewed by critics and masochists only (though I’m sure there’s a considerable amount of overlap).
We find William Keane (Damian Lewis) wandering around a bus terminal, desperately searching for his missing daughter. We are given little back-story, but we gather that she disappeared at this terminal while under his care months before the film begins. Still, he wanders around, asking any stranger who will listen if they have seen his daughter. Hopelessly, he asks a cashier if he remembers selling William a ticket months ago. He will finish the day screaming her name at passing cars before he falls asleep in a ditch.
For such a small, intimate film, Keane displays a surprising amount of momentum. The first half-hour, during which William spends much of the time muttering to himself in a drug-fueled frenzy, is explosive. When a Lynn (Amy Ryan) and her young daughter, Kira (Abigail Breslin), enter the picture—just when we wonder how, exactly, Kerrigan plans to keep up with the film’s tiring pace—Keane changes gears.
The sudden appearance of Lynn and Kira forces a jarring change of perspective. From this point on, the success of Keane depends entirely on how well Kerrigan and Lewis have sketched William Keane. Were he not a truly multi-dimensional character, the audience would scoff at scenes of an obviously deranged William acting as a surrogate father to Kira. It’s telling that despite William’s instability, we never believe that he is a danger to her. There is an amorphous quality to Keane; a sense that Kerrigan is working to constantly redefine the audience’s perception of the title character. The film is restless—constantly approaching from new angles, looking for cracks to burrow into.
Keane is amazing not just because it is a nearly perfect character study, but because it offers a preconception smashing look at illness and depression. Lewis’ performance is fearless—the stuff that awards should be made of. And it’s a good thing, too, because for just a minute there, I was sure Dreamcatcher would ruin the guy’s career.
It is a hard film to watch. That much is without question. But Keane is also a reminder that art was made to plumb the deepest, darkest depths and that when it does so honestly, the results can be both difficult and hypnotizing.
James Bond 007: Casino Royale
Tuesday, November 28, 2006
And so everyone is raving about Bond's brilliant return to form. Indeed, this is one action film you should not miss. I am only disheartened slightly by my correct predictions for the entire plot arc and the intro scene that felt second rate. Other than that I am thoroughly impressed and look forward to future episodes in Bond's all new suave yet lethal direction.
Sofia Coppola & Marie Antoinette
Monday, November 20, 2006
Sofia Coppola has a unique ability to capture and portray the subtle yet powerful nuances of human behaviour, expression and body language. It is probably already evident that I am a big Sofia Coppola fan via the Virgin Suicides fansite I created back in 2002. When I heard that production for Lost in Translation had started and it involved not only one of my favourite directors but also Bill Murray and Scarlett Johansson, two actors I both highly rate, I was whet with anticipation for well over a year. Finally, come January 2004, my expectations were greeted with the perfection of another sublimely astute magnum opus. And so, two and a bit years later I am rapt with anticipation for Coppola's third installment; Marie Antoinette.
Kirsten Dunst is the star of a Coppola movie once more, this time it is a peculiar amalgamation of pop culture and period drama that tells the common Sofia tale of a lost girl and her troubles; though this time it is enshrined with historical fact, which has ultimately led to crucifixion by some critics that utter slurs of historical inaccuracies. I can't really comment with regards to this, my knowledge of Marie Antoinette, before watching the film, was limited to the singular quote, "Let them eat cake". I did not watch the film for a historical biopic, I watched for the lofty-comely movie experience I have yet to experience in any another cinematic work but so dearly love like an addiction.
To talk of the precise satisfaction I get when watching The Virgin Suicides, Lost in Translation or Marie Antoinette is difficult and many fail to see how I and others can be so captivated by these stories. Whether it be some strange dreamy essence or hidden connection to my private thoughts - those that whisk me away during my routine daily life - I cannot really tell, and even if I could explain in full retort would you the reader comprehend this connection? The only window to my rapture that I can think to give you is that of Sofia Coppola's trademark scene; the long drive and the absent minded window gazing. Many see just that - a girl looking out of the window - what I see and ultimately relate to is the simultaneous tranquility of emptiness and fullness; of our random passing thoughts and memory re-enactments as the street lights and the trees accompany us in life's brief rest bite, in the pause where we think of what might have been, what will be and everything in between.
To wrap up this lovely little post here is a jewel in YouTube's rough, it is entitled Lick the Star and is Sofia Coppola's first short movie:
Kirsten Dunst is the star of a Coppola movie once more, this time it is a peculiar amalgamation of pop culture and period drama that tells the common Sofia tale of a lost girl and her troubles; though this time it is enshrined with historical fact, which has ultimately led to crucifixion by some critics that utter slurs of historical inaccuracies. I can't really comment with regards to this, my knowledge of Marie Antoinette, before watching the film, was limited to the singular quote, "Let them eat cake". I did not watch the film for a historical biopic, I watched for the lofty-comely movie experience I have yet to experience in any another cinematic work but so dearly love like an addiction.
To talk of the precise satisfaction I get when watching The Virgin Suicides, Lost in Translation or Marie Antoinette is difficult and many fail to see how I and others can be so captivated by these stories. Whether it be some strange dreamy essence or hidden connection to my private thoughts - those that whisk me away during my routine daily life - I cannot really tell, and even if I could explain in full retort would you the reader comprehend this connection? The only window to my rapture that I can think to give you is that of Sofia Coppola's trademark scene; the long drive and the absent minded window gazing. Many see just that - a girl looking out of the window - what I see and ultimately relate to is the simultaneous tranquility of emptiness and fullness; of our random passing thoughts and memory re-enactments as the street lights and the trees accompany us in life's brief rest bite, in the pause where we think of what might have been, what will be and everything in between.
To wrap up this lovely little post here is a jewel in YouTube's rough, it is entitled Lick the Star and is Sofia Coppola's first short movie:
Last Year at Marienbad
Friday, November 17, 2006
It is impossible to find an online clip of this movie, though relatively easy to obtain a copy. So the video above is a fitting tribute in the form of a music video by Albarn's Blur for the song "To the end".
L'Année dernière à Marienbad's plot is thus:
In a huge, old-fashioned luxury hotel a stranger tries to persuade a married woman to run away with him, but it seems she hardly remembers the affair they may have had (or not?) last year at Marienbad.
That plot description paints the feature as a simple tale yet it is one of the strangest and most mysterious of movies you will ever lay your eyes upon and one which is entirely original; the grace and finesse of its labyrinthine plot shall be endlessly fascinating, eerily sumptuous and will irrecoverably haunt you forevermore,; come full circle - last year at Marienbad?
Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.
Lucky Number Slevin
Thursday, November 16, 2006
A nice little action comedy piece with a lot of famous faces. Nothing groundbreaking or unpredictable here but it's worth watching for some cheap giggles or Josh Hartnett in a towel for most of the film, if you like that sort of thing.
Manderlay
Wednesday, November 15, 2006
An hour later and I am finally able to make this post. Some weird corruption as a result of Firefox 2.0s cache when switching between proxy's led to all google services and specifically their login procedures from failing to load, thus I could not login to Blogger. Erasing my private data from Firefox and starting over fixed the problem until it occurs again.
Anyway, Manderlay is Lars von Trier's sequel to Dogville, a personal favourite. It sees Grace and her father, on their trip home from Dogville pass Manderlay where a black woman pleads for help as a slave is about to be beaten. Grace steps in and liberates all, enforces democracy and sets about improving the Manderlay community. The film consequentially follows the events that occur thereafter and the route the small community takes. I don't want to delve into the political discussions that arise from this film's conclusions, I merely wish to urge you towards watching this monument so that you may approach the table of debate with some interpretations of your own.
Manderlay is masterful and brilliant. It also stars the delightful Bryce Dallas Howard and Willem Dafoe:
Grace and her father
The original and barebones set
Grace Margaret Mulligan: Dammit Wilhelm, they're not free. That's what matters.
Wilhelm: I'd call that a philosophical argument.
Me and You and Everyone we know
Monday, November 13, 2006
Me and You and Everyone we know, a first time masterpiece by writer, director and star Miranda July.
Christine Jesperson: [seeing his bandage] Whoa, what happened?
Richard Swersey: You want the short version or the long one?
Christine Jesperson: The long one.
Richard Swersey: I tried to save my life but it didn't work.
Christine Jesperson: Wow. What's the short one?
Richard Swersey: I burned it.
Labels: Movie
Return to Oz
Wednesday, November 08, 2006
Return to Oz (1985) starring Fairuza Balk. Surprisingly few people have heard of this childhood gem, fewer still have seen it and many pass it off before laying eyes up on it. From this short clip I hope you will see that this is not your everyday children's film, it is weird and intriguing; it is a film that does not dumbfound its audience with simplifications and fluffy pink things or loud noises and explosions. In fact it is scary, but who in the 90s decided that kids shouldn't get a little scared when they watch films? If ever I see this film listed on TV I will make sure to find the time to watch - perfect for that rainy Sunday afternoon.
Labels: Movie
Grizzly Man - Werner Herzog
Sunday, November 05, 2006
A stunning portrayal and biopic. Sublimely astonishing
A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska.
"Now the long horns are gone And the drovers are gone The Comanche's are gone And the outlaws are gone Now Quantro is gone Stan Watie is gone And the lion is gone And the Red Wolf is gone and Treadwell is gone..."
Also, during a BBC interview about the film, Herzog was shot with an air rifle. The interview was resumed indoors and at the end Herzog was encouraged to check his wound. Though there was "a bruise the size of a snooker ball, with a hole in it." Herzog declared "It was not a significant bullet. I am not afraid." Video from BBC here
Labels: Movie
The Lake House
Saturday, November 04, 2006
This is a trailer that does its job well - it gives you the premise of the story, it intrigues you and nothing more. That intrigue lead me to see this film on a lonely Guy Fawkes eve surrounded by Coventry's pseudo-blitz. It's simply a magical tale that escapes the ties of the romantic genre. Both Keanu Reeves and Sandra Bullock act at their best.
Labels: Movie
Thank You For Smoking
Thursday, November 02, 2006
A great satire that manages to make a cigarette lobbyist the hero, somehow.
"Aaron Eckhart holds the picture together with a witty, charismatic performance as a tobacco lobbyist. The film is basically about his profession as he spins the news, pitches a movie idea, dodges a subpoena, has an affair with a reporter (Katie Holmes), tries to spend time with his son (Cameron Bright), and has lunch with an alcohol lobbyist (Maria Bello) and a firearms rep (David Koechner) - where they literally compare body counts. The performances are excellent across the board, from William H. Macy's crusading Senator to Rob Lowe's smirking Hollywood agent who struts around his office in a kimono. Even Adam Brody is enjoyable as Lowe's hyperactive assistant whose in-joke with a co-worker earned one of the biggest laughs of the movie.
The majority of the credit, however, needs to go to first-time feature director Jason (son of Ivan) Reitman. Adapting from Christopher Buckley's novel, Reitman has fashioned an enormously clever script, consistent and strong in character, yet not forgetting to be incredibly funny. The style is also perfect - brisk, light-hearted, with impeccable timing marred only by a tangental subplot including Sam Elliott that is, sadly, not very funny. Overall, however, the pace is fast enough where the laughs keep coming.
Reitman also does the unthinkable: he keeps the satire dark and funny to the very end. While most comedies stray blindly into the sentimental, "Thank You" avoids unnecessary emotional tripe and - thankfully - avoids sermonizing about the dangers of smoking or of the flaws of the political process. Eckhart's flawless performance and Reitman's wonderful screenplay anchor an uncommonly perceptive comedy, provided you take yours black. If you need a little cream and sugar, "Fun with Dick and Jane" might still be at the dollar theater. - Comments written by Paxatron"
Labels: Movie
Stay - The Movie
Wednesday, November 01, 2006
I caught this one on the off chance, the above trailer attempts to hype it up as one of those sci-fi thrillers with all the special effects and gut heaving whammy - it's not and don't be dissuaded; there's a lot of character development and interesting plot arcs and it kept my intrigued and guessing for its entirety. I recommend it just for a little bit of mystery on your Wednesday night.
Labels: Movie
Borat
Wednesday, October 25, 2006
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, out today, you must come see.
Labels: Movie
Snakes on a Plane
Friday, August 18, 2006
The Prestige Trailer
Monday, July 17, 2006
The Prestige is Christopher Nolan's (Memento, Batman Begins) latest effort starring Hugh Jackman, Christian Bale, Scarlett Johansson, David Bowie and Michael Caine.
Plot Outline: Based on Christopher Priest's 1996 novel, Bale and Jackman play rival magicians in turn-of-the-century London who battle each other for trade secrets. The rivalry is so intense that it turns them into murderers.
Labels: Movie