October is a month I usually like to dedicate to horror movies, but given this erratic schedule I've had it's been less than impressive. I even had to work on Halloween Night and didn't engage in a marathon as I would have liked. That said, there's always next year. I saw 17 movies, and here's what I thought of them!
1. Jason and the
Argonauts (1963) – 8/10
A man prophesised to take the throne of the Greek
province Thessaly assembles a team of able-bodied men and travels across the
sea to claim the legendary Golden Fleece. “Jason and the Argonauts” is an
exciting fantasy film with a manifest appreciation for both Greek mythology and
creative means of telling a story. Whilst its numerable cast of characters are
largely forgettable for their archetypal qualities, I do think the film
succeeds on other levels. The approach towards the nature of the Greek gods
features a suitable degree of omnipotence which keeps them in-line with their
mythological roots, but also empowers its mortal characters to act
independently. There’s almost a satirical quality about it all, but it’s far
less notable than Ray Harryhausen’s extraordinary special effects work. The
movie’s constant presence in cinematic memory is dictated by this. The
stop-motion on Talos, the Hydra and the skeleton warriors is an astonishing
sight that really needs to be seen to reveal how well they bring this Ancient
world to life. My only real issue is that, like the Greek myth, there’s a sense
of incompletion as the remainder of Jason’s story in retaking the throne never
occurs. A story about testing faith, wit and masculine brawn all at once,
“Jason and the Argonauts” is a fun time.
2. Unfriended
(2014) – 7.5/10
In the middle of an online chat, a group of teenagers are
being terrorized by a supernatural force that’s reaching them through the
account used by their recently deceased friend. As routinely it falls into the
clichés of the recently popularised found-footage subgenre, “Unfriended” does
provide a fairly wicked spin through the incorporation of social media. The
film is shown entirely from the perspective of a computer screen, providing
strong feelings of urgency and a sense that you’re a non-interacting member of
the cast in this story. All the characters are basically very unlikable and can
be summed up with only a few personality traits. Why I feel this work to the
film’s advantage is how the entire film is a perverse exercise in retribution
for the sins of youth. The film is also a sound metaphor for the uglier sides
of the internet and socialising online. While I don’t think it’s a particularly
scary horror movie, I do think it’s a good example of how adaptable the rules
of how to make (horror) film are. The budget of $1 million remains rather
questionable.
3. Vampyr (1932) –
7.5/10
A wanderer with a
fascination with the supernatural finds himself investigating an old inn and
uncovers the existence of vampires. While it can’t be denied that many vampire
fans will be turned off by low key approach to storytelling, others will
appreciate it as a film relic deserving of a part in horror movie history. “Vampyr”
was Carl Theodor Dreyer’s first sound film, and I feel he handled the
transition very well in his utilisation of techniques from both forms. Ghostly
images and an unsettling score make watching this both unnerving and
disorientating (in a positive way). The plight of discovery undertaken by Allan
Grey propels the viewer to ask questions as the vampire myth reveals itself,
drawing from both early scientific explanations and religious tales in the
process.
4. Duck Soup
(1933) – 8/10
The small state of Freedonia installs a new leader to
deal with its financial mess, and chaos ensues when he declares war on a
neighbouring country. Though a flop during its initial run in 1933, “Duck Soup”
has evolved to have the status of the best Marx Brothers movie among many
commentators. You can see why it would get such a label. It’s incredibly brief,
running at only 65 minutes, but it packs punches of hilarity in each scene.
Essentially a farce of a very simplified political process, it excels through
its mixture of slapstick and verbal humour. Groucho steals the show as the
erratic wise-cracking dictator, Rufus T. Firefly. It’s chaotic to the point
that any real statement about politics of the time is lost in the mayhem of its
comedy, and it doesn’t matter in the slightest.
5. Avengers: Age
of Ultron (2015) – 8/10
After Stark and Banner try to start a new AI peacekeeping
program, it goes horribly wrong and creates the hostile Ultron, who the
Avengers have to stop in his pursuit for global extinction. I will state that I
think this sequel was clearly inferior to its predecessor, but it’s
nevertheless a great popcorn movie and a fine instalment in Marvel’s cinematic
universe. The ensemble cast perform wonderfully, Ultron is a fine villain and
its action is thrilling from start to finish. My main issues with “Avengers:
Age of Ultron” are in its further development of characters. While this was
problematic in the previous film, it’s become even more overstuffed with leads
and simply doesn’t have the runtime to develop them all. That isn’t to say that
the film doesn’t excel in doing this with some of them, but there’s an
undeniable unevenness amongst both the Avengers and newer characters. I don’t
think it’s too great and some of the Avengers’ stand-alone movies are far more character
driven than this ensemble piece, but it does remain true to what one would
expect from this studio and ensures you enter with safe expectations.
6. The Butler
(2013) – 7.5/10
Cecil Gaines serves eight presidents during his time as a
White House butler, and oversees the impact of the civil rights movement and
Vietnam War. While “The Butler” does boast great performances and a tale about
civil rights, politics and family, I also found it to be very generic. One of
the biggest issues I had is that the film seems to always take one side of
history (that being the issue of race relations in the US) and all other
dilemmas that would have faced the successive governments are swept under the
rug. The ‘forgotten’ presidencies of Ford and Carter get no examination at all,
however I really did like the ways in which they brought the likes of Kennedy,
Reagan and Nixon back to life, even if it’s only half believable. Where I think
this one-sidedness in history is redeemed is through its family drama. Forest Whitaker
and Oprah Winfrey fit into their characters like a glove and depict the social
upheaval of the civil rights movement’s impact on families with sensitivity and
acute awareness. In all its simplicity, “The Butler” is a fine drama.
7. The Sacrament
(2013) – 8/10
A news crew goes into a bizarre religious commune led by
an older man simply known as ‘Father’ in search of one’s sister and learns of
something sinister in the proclaimed paradise. Presented by Eli Roth, “The
Sacrament” might lack subtlety, but makes up for it in phenomenalism. It
presents the world of Eden Parish in the form of a quasi-documentary,
immediately subjecting you to a reality that fishes out your curiosities
towards communal living as well as underlying anxieties. However, in spite of
this fantastic approach, the film really begins following the story’s dark
turn. Without spoiling anything, it is horrifying visually and spurs you to
rethink the psychologies of the human mind. Gene Jones’ performance as the cult
leader, Father is as wholesome as it is unsettling and my fascination with it
is largely based on not knowing whether he truly believes in his paradise on
Earth or he’s exploiting these people for his own ego. The film borrows several
thematic elements from the real-life Jonestown cult, and I can say with much
enthusiasm that “The Sacrament” highlights (despite several probable
inaccuracies) the reality of living and dying in the clutches of such a group.
8. Devil (2010) –
7/10
Five people are trapped in the elevator of a high-rise
corporate building and while a grieving detective works to get them out, they
find the devil may be among them. I think that “Devil” sounds like a much
better film than it really is in premise, but regardless I still found it very
approachable and fairly tense. As flat as many of these characters are, there’s
an undeniable joy in guessing which one of them may be the villain of the
picture. At the expense of what I think would have made a very claustrophobic
experience, the story’s being told from multiple perspective alternatively
provides a larger scope, which I feel raises the stakes. The supernatural and
religious elements of “Devil” feel contrived, and the hysteria exhibited by
some characters is often laughable. This does amount to something in the final
act, but reduces the more real-world qualities that made it a fun guessing
game. A slight cop-out honestly, but not enough to ruin the show.
9. The Bellboy (1960)
– 7.5/10
Over the course of several working days, a mute bellhop
continually makes mistakes at the hotel he works for due to his clumsiness and
finds himself in trouble with his superiors. Despite having absolutely no story
to account for and being based entirely on situational sketches, “The Bellboy”
is a fine showcase of Jerry Lewis’ comedic talents and is slightly reflective
of the realities of the hospitality industry. Lewis accomplishes an impressive
feat in playing Stanley. The role is that of a mute and Lewis carries the show
through a combination of goofy physical antics and silly facial expressions.
There’s an overwhelming sense that Stanley has been inspired by Chaplin’s
Little Tramp character, and the influence of that kind of comedy pervades
through “The Bellboy”. What I find relatable is the portrayal of service
workers. They put on an act when they have to, but are all too ready to snap
out of it and find the laughs in every conceivable scenario. It may not be a
story movie, but it’s good for a laugh.
10. Tootsie (1982)
– 8/10
An unemployed actor desperate to fund a play dresses up
as a woman and gets a role on a hospital soap opera, only to find it leads to
more complications in his personal and professional life than he anticipated.
The late Sydney Pollack’s 1982 comedy is a smash hit for both its witty humour
and its gendered approach to storytelling. It need not even be said that it’s
one of many films that reveal Dustin Hoffman’s brilliance as an actor. The dual
role of Michael and Dorothy offers an insight into the realities of the
struggling actor and the plights of women in professional roles. There’s a
certain ludicrousness to Hoffman in drag, but when this compliments the social
commentary on sexism towards women it becomes almost invisible. Despite any
comments “Tootsie” may have about the world, the changes in character are the
most fundamental to the heart of this story. Stepping into the shoes of another
is one of many ways for us to develop into better human beings. Although its
messages might be too salient, “Tootsie” is funny, heartwarming and has
reasonable implications for human relationships.
11. The Beast from
20,000 Fathoms (1953) – 8/10
A dinosaur frozen in ice is thawed out during a nuclear
test and goes on a spree terrorizing the North Atlantic. Among the early films
during the 1950s giant monster movie craze, and still very impressive well into
the 21st century. Its characters are paper thin (and sometimes even
stupid), but where it truly excels is in its ability in bring to life a monster
on screen and making us feel terrified while viewing it. The rhedosaurus
effects were accomplished by the master Ray Harryhausen, and having viewed
“Jason and the Argonauts” recently too, I honestly found this more impressive
than any of the individual creatures in that film. It’s short, to the point,
and provides an insight into the hysteria of its characters as it does
monster-movie chaos.
12. The Queen
(2006) – 8/10
Following the death of Princess Diana, Queen Elizabeth II
battles with pressure to address the people and her family’s desire to keep the
issue private, all the while new Prime Minister Tony Blair tries to convince
her. “The Queen” provides a fascinating insight into the working of Britain’s
centuries-old monarchy, its relation to parliament and spurs consideration for
how relevant the Royals really are today. Diana’s death is used merely as a
plot device to realize the events more essential to the telling of this story,
and I find the attitude towards the late former royal to be alarmingly
scathing. She’s painted as both a shame to the Royal family and as a focus of
celebrity worship by a gullible public. What’s best about this film however is
its expert way at showing us the people behind the Royal titles. As much as I’d
love to ramble about Prince Philip’s short temper and cynicism, Prince Charles’
personal weaknesses, and Tony Blair’s youthful enthusiasm, Helen Mirren’s
portrayal as Elizabeth II demonstrates principle, a commitment to a nation and
the apolitical nature of the position.
13. Batman: The Dark
Knight Returns, Part 1 (2011) – 7.5/10
Bruce Wayne, well into his fifties comes out of
retirement and starts to fight crime as the Batman despite a promise he made
and must deal with both Commissioner Gordon’s impending retirement and a gang
of thuggish youth that call themselves ‘The Mutants’. One of the many feature
film adaptations of well-received Batman comics. These films so far haven’t
impressed me greatly, but nevertheless are great to have among a library of
films starring the Caped Crusader. The film poses the question of Batman’s
relevance to a future Gotham City and provides a clear answer, and in doing so
also addresses the importance of the Batman persona to Bruce Wayne’s own sense
of place in a world overrun by crime. The visual style is very basic, but does
utilise a few stunning images and a fine use of colour to depict the shady mood
of Gotham and Wayne’s manor. Despite being merely one part of a bigger story,
it feels conclusive and reinforces the theme of justice that’s so consistent in
DC’s universe.
14. Grosse Pointe
Blank (1997) – 8.5/10
A professional hitman returns to his Detroit hometown to
complete a job and attend his 10-year high school reunion, and rekindles a
romance with an old flame. Regardless of its slightly lurid subject matter and
noticeable Tarantino-influence, “Grosse Pointe Blank” excels in its method of
drawing humour and sentimentality from the criminal lifestyle and its leaning
towards reflective thinking on the past. Martin Blank would, in most other
movies be an unsympathetic, despicable human being, but instead comes off as
redeemed for his positive attitudes, readiness to make us laugh, hints of
mystery and John Cusack’s natural charm. What I find most relatable is the
movie’s examining the changes we go through in post-high school life. It never
at one point insists that school is better than the adult life, but it does
remind us of the influence those years have on the kind of people we grow into,
whether we know it or not. I might be only 4 years out of school as opposed to
the main characters’ 10, but that nostalgia was drawn out irrespective of this.
The movie gains extra points from me for its fast-paced, naturalistic dialogue
and supporting performances by Minnie Driver and Dan Aykroyd that range from comical
to melodramatic.
15. Son of Dracula
(1943) – 7/10
Count Alucard finds his way from Budapest to the American
Deep South, uses his powers to take control of a young woman and has to fend
off those closest to her. The second sequel to the classic 1931 film is hardly
anything special within the vampire genre, but I will say I preferred it
greatly to the predecessor, “Dracula’s Daughter”. Lon Chaney Jr is a terrific
actor and makes for a decent Dracula, but can by no stretch of the imagination
match Bela Lugosi’s chilling presence. The script has a regularly tendency to recycle
plot devices that were used in the previous two films, coming off as extremely
repetitive and it leads to you questioning how the studio could justify it as
anything more than a cash grab. The characters aren’t very developed, but
aren’t unlikable either and the dialogue is given too great a role. It’s
on-the-nose and pushes the story forward as opposed to allowing action to do
all the heavy lifting. Special effects wizardry in Universal horror did
experience a major step-forward in this film with visual tricks that are nice
to look at, as well as a vampire’s transformation into a bat depicted for the
first time ever onscreen.
16. Stoker (2013)
– 8/10
After India’s father dies, her Uncle Charlie moves in
with herself and her widowed mother. While India begins to suspect there’s
something not right about Charlie, she also becomes infatuated with him and his
mysterious character. Having an Uncle Charlie character immediately makes you
think back to Alfred Hitchcock’s 1943 masterpiece “Shadow of a Doubt”. It may
not be “Oldboy”, but Chan-wook Park’s first Hollywood movie is a riveting,
artful descent into the collective psyche of an unstable family. There’s a
deeply personal side of this story, as it’s mostly shown from the point-of-view
of the reclusive adolescent, India. In conjunction with the movie’s beautiful,
mood setting cinematography, we come to understand the mystery Charlie through
the lens of sexual confusion and isolation. The film’s dramatic twist
effectively transforms the experience from a sombre tale of a girl’s
early-adult experience to one of rapid bloodlust and perversion. Chan-wook
Park’s earlier experiences in making dark stories in South Korea has paid off
in this British-American flick that steps a fine line between being arty and entertaining.
17. Death of a
Salesman (1985) – 7.5/10
Willy Loman is an ageing salesman that has found himself
depressed, financially struggling and with underachieving sons that don’t
respect him. He begins to ponder about what it all means and battles to repair
what his life has become. Arguably the most well-known screen adaptation of the
1949 play, “Death of a Salesman” is a tragic look at the nature of capitalism
and the American Dream. It provokes us to ask so many questions, but only gives
us fragments of an answer and drives us to find it out for ourselves. The
recurring themes of wealth’s role in our happiness and living up to
expectations against who we truly are is of constant focus. Does getting a job
that pays the bills and eventually owning a house guarantee success or should
we instead focus on finding purpose within ourselves? Appearances considered,
Dustin Hoffman’s portrayal of Willy is as heartfelt as it is desperate due to a
great understanding of what this character represents, great chemistry with
John Malkovich and makeup effects that transform this then-middle aged man into
a disillusioned elder. The film’s sets are deliberately constructed to resemble
that of a stage, and gives it the unique appearance like that of classic
Hollywood musical. However, because of a heavy reliance on dialogue over visuals
I do feel its best left to be a theatre production as opposed to a feature
film.
My Top 10 Movies for October 2015
1. Grosse Pointe Blanke
2. The Sacrament
3. Duck Soup
4. Tootsie
5. Stoker
6. The Queen
7. The Beast from 20,000 Fathoms
8. Avengers: Age of Ultron
9. Jason and the Argonauts
10. Death of a Salesman
Lowest Rated: Son of Dracula
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