In August, I saw a total of 24 movies, two of which were only shorts. I had a marathon of the "A Nightmare On Elm Street" franchise with my friends, and I reviewed these separately, so they won't be included in this summary. That's all I really have to say, so we'll jump into the movies.
1. The Woman on
Pier 13 (1949) – 6.5/10
A happily married man with a career in corporate shipping
finds his past coming back to haunt him when the American Communist Party
blackmails him for their own gain. “The Woman On Pier 13” (originally released
as “I Married A Commununist”) is different among the many brilliant film noir
releases of the 1940s in that it’s also somewhat of a propaganda piece. Getting
past its translucent cinematography, what you have is a crime film that’s too
focused on telling you what to think, rather than engage the brain.
Understandably reflective of both the fear of communism and the desire for
conservative domesticity in the post-WWII world, but all too committed to an
unrealistic portrayal of communists as the moral and functional equivalent of
organised crime. Nevertheless, I found myself becoming drawn into the main
character, Bradley Collins’ plight regardless of how needlessly exaggerated it
is.
2. The Interview
(2014) – 7/10
The host and producer of a celebrity tabloid show book an
unlikely interview with North Korean dictator, Kim Jong-un and are hired by the
CIA to assassinate him. It seems to me that “The Interview” isn’t sure of the
kind of movie it wants to be. Whether that be a clever parody or a genuine
criticism of the North Korean regime. Sadly, it doesn’t do either especially
well and is inevitably a hugely missed opportunity for a seed of potential
greatness. The final result is something that’s just okay. Seth Rogen is
likable as the lead, though his performance his hardly distinctive from
anything else he’s done over his career. Who bugs me far more is James Franco,
whose childish demeanour in this role has you wondering whether his character
is an overgrown 13 year old, or the film was simply written for that
demographic. Every once in a while, the film is clearly steering itself towards
scratching the surface on the horrifying reality of North Korea. This is ruined
by a frequent resorting to dick and fart jokes, in-your-face violence and out
of place pop culture references that aren’t impressive nor contributory.
Occasionally, “The Interview” is funny and seems like it’s doing the right
thing, but the blatant exploitation of Rogen and Franco’s star power pushes
anything more for the mind to chew into obscurity.
3. Snow White and
the Seven Dwarves (1937) – 8/10
A wicked and jealous queen forces princess Snow White to
flee from her kingdom, where she meets seven adorable dwarves who take her in
and give her a home. While it exercises basically the exact same parallels with
the classic fairy tale, it’s hard not to find joy in “Snow White and the Seven
Dwarves” several decades on, whether it be through actual enjoyment or
appreciation for the history behind it. Disney’s first ever feature length
movie is an ambitious step-forward for the studio that amazingly has stood the
test of time. The animation still looks fantastic and surpasses many features
that came after it. The humour makes use of the dwarves’ individual
characteristics as well as the nature of the fantasy genre in general. What
astounds me most is the contrast between warm and inviting images with the very
occasional touch of the dark and frightful. My only major issue with the film
is how simplistic and un-divergent Snow White is as a character, but I’ll
forgive it on grounds of it keeping in line with source material and for its
newcomer’s place in the wide world of Disney.
4. Bambi (1942) –
7/10
A young deer hailed as the ‘prince of the forest’ finds
himself having to grow up and adapt to the world faster after his mother is
shot by hunters. As I go to see more of these older Disney movies, I find
myself considering the factors that have made them classics that have led to
them being loved as such for decades on. “Bambi” is a strong release, but I
can’t help but feel it’s a bit caught in the middle between being two things.
On one hand, you have a great story about adapting to the reality of the loss
of a loved one, but on the other end it seems all too focused on being cutesy
and having ‘fun and games’ scenes, which comprise at least 40% of the first two
acts. Nevertheless, “Bambi” boasts fantastic animation that’s only flawed by
the occasional stagnancy of animals in the background. The famous scene where
Bambi’s mother is killed is handled with an expert level use of colour and (or lack
of) sound, which would have left a bigger impact on me if editors didn’t cut to
a cheery image immediately after. I feel Bambi is more a movie for memories and
moments than it is a consistent piece.
5. Charlie and the
Chocolate Factory (2005) – 7/10
A poor boy through all the luck in the world finds a
ticket to visit Willy Wonka’s Chocolate Factory. However, as the tour goes on,
Wonka’s plan begins to fall apart and the children get more than they bargained
for. The choice to let a filmmaker like Tim Burton to direct an update of the
classic “Willy Wonka and the Chocolate Factory” is a curious one indeed. At
times it feels as though Burton is using all his skills to make an adaptation
that’s equally tributary and distinctive from the original through his heavy
use of bright colours, contrasted with a gothic atmosphere. It still feels
confused despite these great efforts. You’ll notice very quickly that the film
falls into a routine. Wonka introduces a part of his factory, a kid acts up and
gets hurt, and the Oompa-Loompas sing. It’s annoyingly repetitive and holds
back any real progression of story or character. Johnny Depp’s performance as
the candy maker may exploit the eccentricity of his past roles, and not hold a
candle to Gene Wilder’s Wonka at all, but it gets a pass from me. The
occasional flashback to Wonka’s past may provide some insight into the man, but
holds back the forward progression of story indicating the script needed some
revision.
6. Lebanon (2009)
– 8/10
At the beginning of the 1982 Israeli invasion of southern
Lebanon, a lone tank crew are sent to search a hostile town after it was bombed
by their air force. The very short, but very intense Israeli film is highly
representative of war’s unpredictability in both the nature of conflict and the
psychological distress that comes with it. This is shown by how swiftly this
relatively simple mission goes completely wrong as the chemistry between the
always on-edge and volatile soldiers. Director Samuel Maoz utilises a very
deliberate technique, and that’s separating the tank itself as its own
environment from the Lebanese town. It causes a sense of dread and
claustrophobia in both audience and character, making the experience of
“Lebanon” more immersive and uncertain at the same time. Though one might
assume that it will have an anti-Arab undertone, this is a sympathetic anti-war
film like many classics of the past.
7. The Mask of
Zorro (1998) – 8/10
After an ageing Zorro gets the chance to seek out
vengeance against a Spanish Don who destroyed his life, he takes a young
protégé under his wing to continue the name of the vigilante. Having not been
exposed to the classic Zorro films and serials of the past, I will say that
this more recent take on the character has inspired me to keep an eye out for
them. “The Mask of Zorro” is very much a swashbuckling popcorn movie, but does
have enough richness for me to give it some due credit. I love the way in which
both Zorros (Hopkins and Banderas) are fleshed out and given their own
motivations that contribute to the overall plot simultaneously. The use of
Spanish instruments in the soundtrack given it that necessary 19th
century Mexican touch. My only real issues are that I feel the actual ideology
that goes with the Zorro identity is undermined by the dramas of the real men
that don his mask and needed more exploration for the sake of context.
8. Despicable Me
(2010) – 8/10
A criminal mastermind uses a trio of orphaned girls as
part of his scheme to steal the moon, only to find himself transforming into
the great father he never believed he could be. Considering the craze that came
with the still-growing “Despicable Me” franchise, I decided it was time to finally
sit down and watch it. I was taken by surprise over how much I enjoyed this
movie. “Despicable Me” is an unusual success for a mainstream animated movie in
that it had no involvement of Disney, Pixar or Dreamworks studios. I love how
it’s essentially a huge play on the supervillain norms of action movies,
particularly spy movies (showcased through Gru’s resemblance of Ernst Blofeld).
The transformation of an unsympathetic and sometimes sadistic character into a
hero that come about from the film’s driving forces of change make for the most
compelling focus, and are complimented by a mixture of slapstick and verbal
humour centred around the much loved Minions.
9. Metallica: Some
Kind of Monster (2004) – 8/10
During the better parts of 2001-2003, Metallica struggles
with personal demons, the loss of their bassist and their future as a band
during the making of their eighth studio album, “St. Anger”. While the album
that documentary is based around might be substandard in comparison to their
earlier releases, this documentary is emotionally involving due to how close
you get to the individual band members and their management. It elaborates on
Jason Newsted’s departure, Hetfield’s brush with alcoholism and the overall
crossroads in terms of musical style the band was facing. We might overlook it
now, but in retrospect, “Metallica: Some Kind of Monster” provides an insight
into the minds of James Hetfield, Lars Ulrich, Kirk Hammett and producer Bob
Rock at a time where it appeared as though the most famous heavy metal act of
all time was coming to an end and these men had to rethink what they were doing
with their lives. As sad as it is to see the old Metallica of the 1980s well
and truly gone, this film draws us in with its inevitabilities that come from
ageing and fame.
10. The Blue Light
(1932) – 7/10
A woman hated by those in her village on the suspicion
that she’s a witch takes to living in the mountains where a mysterious blue
light glows under the moon. She’s befriended by a local man who learns of the mountain’s
secret. Leni Riefenstahl’s only directorial effort prior to her falling under
the influence of the Nazis is both a moral story and an artistic endeavour that
suggests what was to become of this filmmaker. Leni’s signature style of music
and visuals over dialogue is used to outline a tale about the impacts of social
isolation and the stigmatisation of such individuals by societies that use them
as blank templates to impose judgement. At the same time, Leni’s film is one
about the corrupting influence of foreseeable wealth, but I feel this side of
“The Blue Light” is realized far too late. As great as the film’s photography
and intended messages are, it falls short in that we never truly get to know
Junta or any other characters, and in that regard it comes off as more of a
film for Riefenstahl herself that it is one for audiences.
11. 22 Jump Street
(2014) – 8.5/10
After Schmidt and Jenko’s success from their last
mission, the pair are sent to go undercover at a local college to bust a ring
of a new synthetic drug, while their personal relationship becomes compromised.
Having loved “21 Jump Street”, I’ll declare that I’m very happy with this
sequel. It recycles many jokes, yes, but it ups the ante in other ways and adds
to both of the main characters developmentally. Jonah Hill and Channing Tatum
are fantastic once again, and what makes seeing them again worthwhile is how
their partnership in the police force is constantly drawing parallels with a
romance. It’s both funny, and highlights the kind of bond these two men had.
The humour is largely juvenile, but still clever in a way and feels very much
like an “American Pie” meets the police movie. The consistent theme through the
movie is growing up, making note of the place of college in the process of
becoming an adult. The action scenes are more elaborate and have far more dire
stakes, but a consequence is a push on believability that the previous movie
balanced so very well.
12. Cropsey (2009)
– 8/10
Looking back on a Staten Island urban myth from their
childhood, two documentary filmmakers investigate the disappearances/murders of
5 children and the man connected who may be the culprit, or just a scapegoat.
Coming off of Zeman and Brancaccio’s later film “Killer Legends”, “Cropsey” is
just as effective, but only this time the approach feels a lot more personal to
these people. The truth is scarier than the folklore as this film states. As creepy
as the Cropsey urban legend is painted to be, the real debate around Andre
Rand’s place in these disappearances is even more so. “Cropsey” works just as
well as a horror film as it does a documentary. A heavy use of ominous music,
news footage, accounts from those involved and police file clippings will both
disturb you and pull you in like a detective working on a mystery. Although it
leaves us with a lot of questions unanswered, it also leaves us with room for
speculation about the fates of these children and the future of convicted Rand.
13. The Ten
Commandments (1956) – 9/10
A Hebrew man raised as a Prince in the House of Egyptian
royalty learns of his heritage and the mission bestowed on him by God to free
his people. Cecille B DeMille’s 1956 Biblical epic is a perfect merger between
blockbuster drama of Hollywood and the age-old tale of Moses and the Ten
Commandments. For his final film, DeMille leaves the scene with an
unforgettable piece that will stand as a testament for why he’s one of the best
studio directors of his time. The visuals are stunning, from the extravagant
sets to the very calculated and deliberate use of technicolour technology. A
powerhouse cast from Charlton Heston, Yul Brynner, Anne Baxter, John Carradine
and Vincent Price deliver excellent performances as figures in the old
religious tale. I love the ways in which Moses (Heston) himself is portrayed,
from an almost puppet of the royals, an insecure man in an identity crisis, a
people’s liberator and a judgemental voice driven by dedicated faith. The near
4 hour length might become daunting, but is also a necessity for digesting a
story this immense. “The Ten Commandments” is unmissable for all fans of
cinema, and rightfully gets placed next to the other grand epics of the time.
14. Pinocchio
(1940) – 7.5/10
A toymaker/inventor wishes upon a star for a son, and
finds a wooden puppet he built becomes animated and he needs to prove himself
to become a real boy. Yet another one of the early Disney features. “Pinocchio”
falls into many of your usual tropes. I’m highly appreciative of the more
restricted use of musical numbers as a means of telling story and revealing
aspects of character. As the premise would suggest, there’s a consistent theme
of being a well-behaved child and the value of having parent figures (embodied
through both Geppetto and Jiminy Cricket). It’s all quite ready to depict the
world as an unsafe place for a child. As great a source for potential drama
this is, I feel the film gives itself tickets out of this on the occasion
through the Blue Fairy character, who acts as a very mild dose of Deux ex
machina.
15. Ten Canoes
(2006) – 7/10
Set in Australia’s Northern territory long before
colonisation, an Aboriginal man tells his younger brother of a story of when a
stranger came to their land and disrupted the lives of the people living there
at the time. When looking at films dealing with Aboriginality and Australia
pre-1788, there’s almost an unspoken rule in handling the matter with sensitivity.
Due to that I look at “Ten Canoes” as a straight-forward depiction of the way
of life of Indigenous people, and far less a traditional narrative. The total
lack of a musical soundtrack and pretty visuals of the landscape paint a
believable picture of the simplistic lives of these ancient peoples.
Considering the way in which culture, values and laws are depicted, there’s an
almost alien-like quality to it, indicative of the filmmakers’ understanding of
how distant modern Australia is from the Indigenous experience.
16. Bride of
Frankenstein (1935) – 8/10
Although he survived the fire, Dr Frankenstein finds
himself being blackmailed by another scientist into building a bride for the
monster he’s come to regret bringing to life. Despite being divergent from the
more straight-up horror approach of the original “Frankenstein”, this sequel
works especially well in comparison to some other instalments in the Universal
monster franchises. It excellently retains the same gothic atmosphere through
set design, lighting, musical and practical effect techniques. What stands out
more is the comedy, and depending on your own perspective that could be good or
bad. Personally, I think it works in the favour of the film, making the
Frankenstein Monster a sympathetic character. I will admit the moral dilemmas
explored in the original are undermined due to a closer focus on the Monster’s
feelings, but I personally enjoyed this much more than the original for its
delicate balance between horror and comedy, and an increased emphasis on
Karloff’s performance.
17. A Trip to the
Moon (1902) – 8/10
A team of early astronomers build a rocket and use it to
travel and explore the moon. It only seems suitable that the characters of this
early film dress like wizards, because as many have said before, Georges
Méliès’ previously uncredited work is indicative of his being more than just a
filmmaker. “A Trip To The Moon” may be more than 100 years old, but couldn’t be
more ahead of its time. The special effects and use of colour in the remastered
version are marvellous, and sometimes resemble something from an acid trip, but
what’s worth talking about is the narrative. As one of the very first movies to
introduce a fictional narrative, Méliès’ goes one step further and provides a
simplistic sci-fi tale playing on man’s scientific curiosity when knowledge was
far more primitive. While it may not be something you’d be rewatching
constantly, the importance of “A Trip To The Moon” is comparable to few other
movies in history and still makes for a relaxing 15 minutes.
18. Batman: Year
One (2011) – 7.5/10
Wealthy playboy,
Bruce Wayne and Chicago detective, Jim Gordon return to Gotham City and
find that the rampant crime and corruption has a great impact on their personal
and professional lives. The film adaptation of “Batman: Year One” is a
surprisingly good release for the home video market, and a story for whose
influence can be seen in movies like “Batman Begins”. The animation strikes me
as a more modern take on the style of the 90s TV show. That said, it doesn’t
reach that level of greatness. It doesn’t have the consistently dark qualities
you’d normally expect from a Batman adaptation, but it does excel in its
adult-like approach towards its themes of loyalty, responsibility and the
divide between good and evil. The dialogue is occasionally very expository, and
I feel the script needed some revision to tell its story more visually. Bryan
Cranston’s performance as the voice of Gordon is exceptional.
19. Man With A
Movie Camera (1929) – 7.5/10
A cameraman travels around Moscow and documents
day-to-day life in the world’s socialist capital. By the standards of early
cinema, Soviet cinema and film as a whole, “Man With A Movie Camera” is a huge
irregularity, and a fascinating one at that. There’s no sets, and no consistent
cast outside of Mikhail Kaufman as the filmmaker, and no direct intention. The
film simply uses a variety of images and revolutionary techniques to depict
life in 1920s Moscow in a most general manner. The early use of jump-cutting,
fast-paced editing, trick photography, merging of images and dollying in an
almost-documentary setting speaks volumes about the abilities of director Dziga
Vertov and the Soviet film industry. What’s interesting is that the references
to communism and the Russian leadership is very limited. It’s far less
politically motivated than one would expect, and only wants to be an experiment
in using film to educate us about the operations and leisure of urban
environments.
20. Intruder
(1989) – 8/10
After a minor incident with one of the staff’s
ex-boyfriends, the team at a supermarket start getting killed off one by one
after the store closes. “Intruder” would probably be classed as a largely
forgotten slasher movie of the late 80s had it not been for the involvement of
a few big names (eg Lawrence Bender, Sam and Ted Raimi, Bruce Campbell), but
irrespective of that it’s quite a thrill ride in that it’s essentially “Friday
the 13th” in a supermarket. Director Scott Spiegel’s tense
utilisation of atmosphere meets its full potential when it leads up to sporadic
stints of exploitative violence and creative kills. While some of the acting is
very poor, and features of the plot are quite ridiculous, there’s an undeniable
sense of joy in watching this because it hardly demands you to think. All it
really asks is for the audience to sit back and enjoy its suspense and odd
extremities.
21. On Deadly
Ground (1994) – 5/10
The environmental agent working for an oil company in
Alaska finds himself declaring a one-man war against the corrupt company that
wrongs him and the other local inhabitants. Despite beginning as a seemingly
promising Seagal vehicle, “On Deadly Ground” very quickly walks into becoming a
confused lecture on environmentalism under the guise of an action picture. As
noble as the pro-environmental and anti-corporate message it aims to spread is,
it’s very one-sided and the film’s understanding of it is elementary at best.
Midway there’s an awkward introduction of the spirituality of the Inuit people,
and it disappears as quickly as we first get a glimpse of it. Easy as it is to
criticize this film, there’s an undeniable joy in watching Steven Seagal as
your typical underwritten action hero, and a high-strung Michael Caine that
epitomizes the stereotype of the profit-obsessed CEO to laughable levels.
22. Escape From
Sobibor (1987) – 8.5/10
At the Sobibor death camp in Eastern Poland, the Jewish
labourers that avoided the gas chambers work with Soviet POWs to stage a revolt
against the Germans to escape. The ingrained poorer production value of a TV
movie that passed on modern refining cannot impede the powerful story of
courage that is “Escape From Sobibor”. It may not have the strongest character
development (albeit solid performances by Arkin and Hauer) in comparison to
some more well-known Holocaust dramas, it excels in its authenticity. There’s
an overwhelming sense that what you’re looking at are movie sets and costumed
performers, but genuine inmates of an extermination facility. The film has a
willingness to shock for the purpose of audience empathy. The aura of
hopelessness and inhumanity is never-ending, and only occasionally it’s
interrupted by horrific depictions of Nazi cruelty. The gas chamber sequence
only lasts about 30 seconds, but is so vivid it leaves you shaken several
minutes after and immerses you in the despair that characterized these events.
Like any good drama focused on genocide, “Escape From Sobibor” highlights the
staggering nature of the crimes committed and reveals the glimmers of heroism
that exist within.
23. Titanic (1943)
– 7/10
The British luxury liner, HMS Titanic meets disaster on its major
voyage after colliding with an iceberg and sinking. It’s a fascinating bit of
history knowing that among the earliest films made about the Titanic was but a
propaganda project of Nazi Germany supervised by Goebbels himself. While it is
consistently focused on retelling the story of the ill-fated ship, what makes
it more distinctive is its overt anti-British sentiments. There’s an almost
overwhelming number of villain portraits painted for the ruling capitalist
class of Great Britain and astonishingly the Nazis don’t make an effort to
demonize the working class as communists at the same time. The characters are
living and breathing stereotypes of the social class they’re a part of in that
they do little more than act out assumptions others would make of them. The
eventual sinking sequence does make an effort to empathize with the doomed
passengers, but nevertheless feels very rushed. Not your ideal Titanic flick,
but a fascinating watch.
24. The Mad Doctor (1933) –
6.5/10
Mickey Mouse sets out to save Pluto from a mad scientist that has
kidnapped his canine pal. Among the early Mickey Mouse shorts, “The Mad Doctor”
is a special case. It’s not necessarily a more enjoyable short, but its tone
makes it worthy of at least a few more lines of discussion. The horror theme
meant that it would be banned in some theatres at the time of its original
release in 1933 on grounds that it might frighten children, but this aspect
also demonstrated how able writers were in throwing Mickey into deeper, darker
situations. That said, it wanders all too closely to genre clichés emerging in
the horror movie scene of the 1930s to really stand out. It only clocks in at
6.5 minutes, but to me it felt like a much lengthier short than 1928’s
“Steamboat Willie”.
My Top 10 Movies For August
1. The Ten Commandments
2. Escape From Sobibor
3. 22 Jump Street
4. Despicable Me
5. Bride of Frankenstein
6. Intruder
7. Metallica: Some Kind Of Monster
8. Cropsey
9. The Mask Of Zorro
10. Lebanon
Least Favourite: On Deadly Ground
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