Without the yammer of what I want to do, as I'd much rather just show what's in store through action as opposed to words, I'll talk about my November. I finished all University studies for 2015, and I can't even begin to express how much of a breath of fresh air it was to get into my car and be able to say "I'm not gonna be back here for a few months." I was ecstatic. As I grew more confident in my own strength to push aside family pressure and pursue education according to my own values, it coincided with an immense optimism. Even if I never achieved my bigger life goals, I can go to bed each night knowing that everything would be alright in the end and I could still live a happy life.
Making an admittedly uninformed statement, I sense that my 'depression' if I could even call it that might be on its way out. My health is improving due to some great dietary changes, I feel more motivated to both work towards goals and live day-to-day life with more enthusiasm. I haven't had a real anxiety/panic attack for months. My working life is rewarding and with a truly great team that's helped me brush the memories of my being a shy high school outcast under the rug. Maybe that's my biggest problem of all. I'm living in the past and letting it dictate my present.
Being finished with University temporarily gave me a great deal of free time to ease my mind by exploring cinema and enjoying a lot of different movies. I watched foreign horror, documentaries, exploitation, comic book movies, historical dramas, animated movies, new releases and more. I ended up finishing at 34 films in total, so here are my thoughts!....
1. It Follows (2014) – 8/10
Following a less than normal sexual encounter, a young
woman is chased endlessly by a sinister supernatural force that manifests
itself only to her and its other victims. “It Follows” is another modern horror
classic that I feel will be loved for many years to come. As much as it is a
metaphor for STIs, where it truly succeeds is on a more psychological note. As
much as I feel it reveals a lot more about the reality of its monster more than
it should, the waiting game that director David Robert Mitchell plays with his
audience spawns a dreadful sensation that is permanent through the entire film.
Maika Monroe’s performance as Jay is sympathetic and despite her being
constantly surrounded by friends, it truly is her fight and only the audience
can relate to her plight so closely. The continuous unease is only inflated by
beautifully grim images and a haunting soundtrack.
2. Dark Water
(2002) – 8.5/10
During a custody battle with her ex-husband, a woman and
her young daughter move into a run-down apartment and are victimized by
paranormal phenomena connected to a missing child and the water supply. When
one thinks of Japanese horror, it’s synonymous with titles like “Ju-on” and
“Ringu”. “Dark Water” by all rights deserves the same level of praise. On top
of being a genuinely creepy movie, its paternal tones drive the story into
territories beyond usual genre standards. The overt moments of shock are
carefully reserved for significant revelations in plot, which emerge through
little subtleties in the form of visual cues and the odd flashback. It doesn’t
give you any clear indication that you should be frightened, but you
nevertheless feel a mild discomfort simply out of lingering questions and the
bleak visual style. What makes the movie that much more effective is the
relationship between Yoshimi and Ikuko. Motherly instinct and a child’s
vulnerability contend with a haunting that oddly enough is just as tragic as it
is disturbing. I have little faith in the 2005 American remake, but I’ll give
it a shot despite this for the joys of comparison.
3. Fat, Sick &
Nearly Dead (2010) – 8/10
Australian Joe Cross finds himself 100 pounds overweight
and stuck with a debilitating illness in his immune system, and works to
correct it through a fast of fruit and vegetable, only to pass it on to an
American man suffering the same condition. Though I was already somewhat
striving for better health, this lovely documentary has made me feel a bit more
motivated to boost what I was already doing. It paints Western eating habits of
processed junk food as more of an addiction connected to the emotional state,
and proposes a solution to both that is 100% dietary. There’s some science
involved, but also the occasional slander of the healthcare system’s
overreliance on medications which only mask symptoms as opposed to address the
real problem. I can only relate so much how hard it is to stay consistent on
these kind of diets. As Cross says in his film, “even if you fail, good on you
for trying”. If you need that boost in motivation for better health, I can’t
see this film doing any harm whatsoever.
4. This Is Not A
Film (2011) – 7/10
Jafar Panahi is under house arrest and awaits the verdict
on his ban from filmmaking in Iran, but makes an effort to preserve his
creativity by documenting his own life at home and discussing a film that was
to never be. As much as Iran may be a bastion of anti-imperialism in an
increasingly globalised world, it’s hard to overlook the uglier sides of their
government’s control over the civilian population. “This Is Not A Film” is a
quasi-documentary on filmmaker Panahi’s recent indictment as an enemy of the
state for what in all likelihood is an unjust claim. The film itself isn’t very
eventful and is mostly made up of his interactions with friends/colleagues and
his demonstrating of how he would direct what would have been another film in
his catalogue. Despite all the legal repercussions involved, it’s a fascinating
movie for both its inside look at one artist’s resistance against a regime that
hates him, and for the story behind its making. Any movie smuggled out of Iran
on a flash drive hidden in a cake has to be worth something.
5. Death Wish
(1974) – 8/10
After a vicious attack on his wife and daughter, a New
York architect loses faith in the police force and takes to the streets as a
vigilante to hunt down would-be muggers. The 1970s was a fascinating time in
film history due to the dramatic shift towards realism seen in the American New
Wave, and “Death Wish” is a fine picture that resulted from this change in
attitude by filmmakers and studios. Charles Bronson portrays Paul Kersey
(nicknamed ‘The Vigilante’) and plays it with both a two-faced wit and
hard-to-replicate degree of masculine coolness. Taking place mostly at night
and filmed on location, the sleaze and perils of NYC depicted on screen drive a
prolonged sense of anguish which is released cathartically by sporadic
violence. It’s sometimes hard to know what’s going on in the protagonist’s head
at all times, nor does it discuss the moral questions of vigilantism, but it
surely makes for a great thriller to relieve any built up anger.
6. Batman: The
Dark Knight Returns, Part 2 (2013) – 7.5/10
Batman’s return after a ten year absence has so far led
to his gaining the loyalty of what was once a dangerous street gang, but as the
Joker prepares a comeback and Superman is brought into mix his strive to make
Gotham a safer place becomes complicated. As much as I enjoyed the predecessor,
Part 2 is by far the better of the two-part adaptation of this beloved comic
book. What drives this one the most is the many questions that come to mind.
Could an ageing Bruce Wayne really keep up what he’s going? Shouldn’t his
responsibilities be passed to those who follow him? If Gotham hates him and
what he’s doing, what business does he have as the Batman? Most importantly
though, does Batman lose credibility as a hero when he kills? I was very
enthusiastic about the Joker’s role in this story, and was hardly impressed by
Michael Emerson’s voicing, which I felt sounded like he was hardly trying to
emulate the psychotic character. The backdrop of the Cold War and the part
played by Superman/Clark Kent (voiced wonderfully by Mark Vallet) are both
fantastic, and the final showdown between DC’s two greatest heroes is simply
unmissable.
7. Selma (2014) –
8/10
During the battle for civil rights in 1960s America,
Martin Luther King Jr strives to get equal voting rights by leading marches
from Selma to Montgomery, Alabama. Films about the civil rights are hardly a
rarity these days, but what’s so consistent is their emotional maturity in
tackling this critical chapter in Western history. “Selma” may only be but one
of these movies, but it excels in the same factors as much as any other. David
Oyelowo’s performance as King is nothing short of astonishing. It’s one of
those roles where through both physical appearance, mannerisms and great
dialogue that you don’t feel you’re watching an actor. The man of this story is
right there on your screen. There’s also a sense at times that you’re stepping
into King’s head, through both the depiction of events from his POV and the
Christian undertones. What I always worry about is the attitude of these films
towards whites. It never paints the groups as the villains of the story, but never
holds back when attacking certain individuals. Despite having several night
scenes that look very under-saturated and not really standing out all that much
against films exploring the same topic, “Selma” is a fine drama that pays
tribute to iconic moments in history.
8. Fright Night
(1985) – 8.5/10
A teenager learns his next door neighbour is a vampire
preying on the locals and recruits his friends and a washed up TV actor to
expose and defeat it. The original “Fright Night” is a truly great horror
classic of the 1980s and also a great love letter to the horror films of the
past. I didn’t find its cast particularly impressive despite a cunning Chris
Sarandon, and a depressingly amusing Roddy McDowall, but the film succeeds on
several other levels. The set construction, use of lighting and piano-based
soundtrack all aid each other in creating tones that are both creepy, and also
tongue-in-cheek. The little nods to pre-modern horror offer an additional
appeal to genre enthusiasts. This is exemplified through the occasional
snippets of older films on TV, certain story tropes and even the naming of one
character after Peter Cushing and Vincent Price (or so I assume that was the
motivation). The depiction of the vampire as a duality of traits makes for
particular fascination. You have both the sexually seductive and highly
masculine human side contrasting greatly with the demonic monster brought to
life by brilliant practical effects.
9. A Tale of Two
Sisters (2003) – 8/10
After being treated by psychosis in a mental institution,
two sisters return to their father’s home and are tormented by their cruel
stepmother and a paranormal entity connected to deaths in the family. This
Korean film that went on to inspire the American remake “The Uninvited” is the
product of a great bond between the horror and drama genres. What really makes
it for me is the lack of a clear answer as to what the real drama of this story
is. Is it the fear of ghosts? The instability of the stepmother? The forces
driving separation between Su-mi and Su-yeon? Or is it insanity itself? Before
it reveals its abhorrent twist at the end of the second act, you’ll find
yourself constantly rolling these questions around in your head and deciding
what’s real and what’s not before you’re given a definite explanation. This
makes for an experience that will vary depending on the viewer. A great use of
dark images and editing that compliments cinematography and jolts you in a way
that you empathize with its characters’ psychological trauma makes for a scary
film about family and the fragility of the human mind.
10. The Grand
Budapest Hotel (2014) – 8/10
In the fictional Eastern European nation of Zubrowka in
the 1930s a sophisticated hotel concierge and his new lobby boy find themselves
battling to prove their innocence when the will and fortune of a deceased
aristocrat drives theft and accusations. If you’ve ever been a fan of
writer-director Wes Anderson’s previous movies, it can be said that you’ll
enjoy this just as much. It has that same visual style emphasizing fluorescent
colours and quirky comedy amid highly adult themes that make his movies
instantly recognisable. If it can be pinpointed as an Anderson movie with such
ease, what makes it stand on two feet? Its impressive cast featuring both
familiar faces from previous films and some newcomers ranging from Ralph
Fiennes, Adrien Brody, Willem Dafoe, Jude Law and several others are
wonderfully directed to depict unbelievable people who we happen to just accept
due to the fictional context of this world. The creation of this setting is
where it truly thrives, by both its grandiose sets and bright and varied colour
palette. It reveals a 1930s Europe that is both identifiable and overly alien
at the same time, and makes for a story of innocence and friendship all that
more interesting to take place in. It’s not my favourite Wes Anderson movie by
a long shot, but you can approach it with faith you’ll enjoy it.
11. Nausicaä of
the Valley of the Wind (1984) – 8/10
In a future where man has reduced the Earth to a toxic
wasteland and humanity is in a never-ending battle for survival against giant
insects, a princess of a peaceful nation must try to stop another from
destroying what little habitable Earth is left. Even though Studio Ghibli technically
didn’t exist when this film was made and it prompted its founding, this
deserves to be treated as another one of the Japanese animation company’s great
effort. Despite having a very clear pro-environmental message that heavily
criticises mankind’s ignorant behaviour towards nature, it’s never preachy and
fully lends itself to the betterment of story. Its numerous cheery characters
and pretty images may very well be the only family friendly aspect of this
film. The occasional descent into dark territory contrasts greatly with the
illusions of prosperity exhibited by several minor characters. This is greatly
emphasised by a terrific soundtrack that evokes feelings of epic drama and
mystery. “Nausicaä of the Valley of the Wind” is a great film, and surprisingly
huge in its scale for an early effort by Miyazaki and the Studio Ghibli team.
12. I Spit on Your
Grave (1978) – 7.5/10
A young novelist comes to a small town looking for
seclusion to write her new book, only to have her world destroyed when she’s
attacked, raped and left for dead by four locals whom she swears vengeance
against. Director Meir Zarchi may have made himself one of the most hated
filmmakers alive by piecing together the rape and revenge genre example that
was labelled in the UK as one of the ‘video nasties’. It’s not a film you can
just watch and enjoy merely as a horror movie. It’s a vastly uncomfortable
experience that draws from the most depraved recesses of the human mind. The
multiple rape scenes are not given a Hollywood polishing. There’s no advanced
visual techniques or mood-specific music employed. It’s shot in a very
straight-forward way that makes them feel very real, and thus more horrifying.
Only one of the killings in the film’s latter act equals this degree of shocks.
The acting is very poor and ironically makes its four villains appear even less
human and sympathetic. Depending on the school of thought you fall into, you
might class Camille Keaton’s heroine as a feminist liberating himself from the
patriarchal brutality inflicted on her, but I think that’s reading in too deep.
I generally see “I Spit on Your Grave” as an exploitation film working in the
vain of giallo horror that has a false sense of justice and a willingness to
make audiences feel emotions they’d rather avoid.
13. The Tingler
(1959) – 8/10
A pathologist develops the theory that a creature called
the ‘Tingler’ inhabits every person’s spinal cord and is suppressed by our
ability to scream, but when he starts to experiment it can only wield tragic
results. “The Tingler” is a fascinating horror film to put it very mildly, and
as far as I’m concerned has been forgotten all too much and suffers from a
great lack of appreciation. It’s a rare film that demands the interaction of
the audience, which only makes the experience all the more shocking. As
laughable the puppetry for the creature may be in 2015, the real terror of “The
Tingler” is on a more psychological level. You’re constantly questioning its
natural instincts, its capacity to kill and how close to imminent danger its
characters are. Vincent Price delivers a fine performance as a character with
questionable motives that encourages us to question how safely science can toy
with nature. “The Tingler” will certainly keep you checking under your bed at
night.
14. A Better
Tomorrow (1986) – 8/10
A former gangster struggles to break his past ties with
the criminal organisation he worked for and reconcile with his brother, who
blames him for the death of their father. Although John Woo had worked on several
films in Hong Kong prior, his first truly major feature is an impressive feat
in action filmmaking. My viewing of this was hugely interrupted by illness and
took place in gaps over a ridiculously long period of time, but I nevertheless
still enjoyed it very much. Where it succeeds the most is oddly enough not
through its imaginative, over-the-top action scenes, but at its moral core
centred on family. Will being on opposite sides of the law break such bonds? Or
will inclinations towards family prevail? As much as Chow Yun-Fat outshines the
two leads as the gun-toting, tobacco-hooked Mark, Lung Ti and Leslie Cheung’s
performances as the two brothers are intense and externalise inner feelings in
a very subtle way.
15. John Wick
(2014) – 7.5/10
A recently widowed ex-hitman seeks vengeance against the
gangsters that wrong him and has his battle for justice complicated when he
learns of the involvement of his former employers. Although the premise of
“John Wick” is largely generic, it’s a very high-spirited movie that aspires
for little more than to entertain us. It has its pitfalls, but succeeds very
well in many ways. Keanu Reeves may never have been the greatest dramatic actor
in history, but his part as an action movie hero can hardly be matched by many
of his contemporaries. His abilities are overall improving as the sands of time
fall. The action of this film is so exuberant, it’s impossible not to be drawn
in. You’ll almost feel as though you’re stuck in the middle of a mission in a
Grand Theft Auto game. The fact that Wick is able to kill this many people
without as much as a scratch or whim of regret is so out there it’s simply awesome.
“John Wick” does suffer from age-old Hollywood Russophobia and perhaps uneven
character development to match its excessive action, but when it’s kicking your
ass, it kicks hard.
16. Batman Forever
(1995) – 7.5/10
When Gotham falls under the terror of the criminal duo of
The Riddler and Two-Face, Batman enlists the help of a young acrobat who
becomes his sidekick, Robin. The first of Joel Schumacher’s two critical flops
of the Batman series honestly isn’t quite as bad as memory serves it depending on
the perspective you go in with. The darkness that made the previous entries so
distinctive has gone with Tim Burton and Michael Keaton’s departures, and in
its place we receive a more family friendly Batman under the Studio’s thumb.
The entire thing is like an enormous cartoon. Despite a very awkward use of
Dutch angles and specific types of lenses, it has a vibrant visual style that
emphasises neon colours and glamorous costuming. Val Kilmer, Nicole Kidman and
Chris O’Donnell are for the most part a real bore as the three leads, but are
made up for by screen-stealing villains. Jim Carrey and Tommy Lee Jones are so
over-the-top and ridiculous to the point of delight. “Batman Forever” is goofy
to the max and is far from the Batman movie that the franchise needed.
Depending on your view though, there is joy to be had and it can be as good (or
as bad) as you make it.
17. American
Grindhouse (2010) – 8/10
An exploration of the history of grindhouse exploitation
movies from their origins in the earliest film movements to the modern age.
Whether or not you enjoy exploitation films, or are just fascinated by film
history in general, everyone should make “American Grindhouse” a viewing
priority. Trying to properly do justice to this short, but very extensive documentary
can’t be done in this summary. It features some of the biggest names on the
scene offering their nuggets of knowledge from John Landis, Herschell Gordon
Lewis, Jack Hill and Joe Dante. The differentiation between genres throughout
this documentary is impeccable, with everything from beach party movies,
Nazisploitation, Blaxploitation, 1960s biker movies, slashers and everything in
between. I almost felt like I was going to drown with all these titles catching
my curiosity. It’s a fascinating insight into a side of film that’s often
shunned and it educates the viewer with much enthusiasm.
18. Dead Snow 2:
Red vs. Dead (2014) – 8/10
The survivor of the original onslaught of Nazi zombies in
the mountains of northern Norway enlists the help of foreign zombie enthusiasts
and discovers a way through which he might protect the town. The sequel to the
modern zombie comedy classic “Dead Snow” ups the ante in just about every
respect, and should you feel the previous instalment held back, you’d surely be
more satisfied this time around. It’s not one of those films that thrives on
great character development, a clever plot or great direction in any respect
(though Wirkola’s vision is quite clear and deliberately pursued). There’s more
zombies, more blood and more opportunities for genre throwbacks. Through both
this and its tongue-in-cheek attitude towards itself, “Dead Snow 2: Red vs.
Dead” manifests an admiration for genre and filmmaking at large. The sense that
I felt that this cast and crew were truly having the time of their lives making
this is nothing less than gratifying. On a final note, seeing a showdown
between zombies of the Third Reich and the Red Army may very well be one of the
most overdue scenes ever.
19. The Master
(2012) – 8/10
A WWII veteran of the US Navy returns home and finds
himself unable to find direction in his life during peacetime, before he’s
brought into a new religious movement called ‘The Cause’ and becomes fixated on
its leader. For whatever reason, I became somewhat disconnected with what one
of my favourite filmmakers, Paul Thomas Anderson had been making in the last
few years in favour of other movies. “The Master” didn’t grab me quite as much
as many of Anderson’s earlier masterpieces, but I’ll still label it a worthy
segment of his streak of cinematic greatness. The subject matter of a cult is
handled in a way that is both informed and highly personal. It doesn’t try to
make any suggestions about the ethics of the organisation as opposed to reveal
experiences from the point of view of its main characters. Joaquin Phoenix
makes for a great lead as Freddie, but I was far more entranced by the late
Phillip Seymour Hoffman as the titular ‘master’. From his charisma to questions
about his belief in The Cause and his authority, it’s a strong character.
20. A.I. Artificial Intelligence (2001) – 7.5/10
In a future where computer technology allows for cyborgs
to live and feel the same as human beings, a robotic boy seeks to be turned
organic to regain the love of his adoptive mother. Steven Spielberg’s story of
machine’s relationship with man seems appropriate for his first major career
step into the 21st century. It’s an interesting blend between a
fairy tale and science fiction that draws its influence from both classic
Disney movies and sci-fi such as “Blade Runner” and “Bicentennial Man”. I would
never class it in the same league as escapist brilliance like “Close Encounters
of the Third Kind” or the Indiana Jones series, nor his other more adult dramas
like “Schindler’s List” or “Lincoln”. It’s a very pretty-looking film thanks to
a glossy lighting scheme that constantly contrasts light and shadows. Haley
Joel Osment proves his greatness as a childhood talent of his time in the role
of David, exploiting childlike innocence that matches up with robotic blandness
quite nicely. These good points however don’t excuse it for its major
oversentimentality and a third act and ending I found very contrived.
21. Creature from
the Black Lagoon (1954) – 7.5/10
A scientific expedition into the heart of the Amazon
encounters and tries to capture a bipedal amphibian creature that lurks in the
depths of the legendary Black Lagoon. One of the latter entries into Universal
Studio’s classic monster period. I won’t hold it in the same light of
enthusiasm as I would “Dracula”, “The Wolf Man” or “Frankenstein”, but it is a
nice creature feature with some implications for the future of horror. I
couldn’t help but constantly draw connections to one of my all-time favourites “Jaws”,
not only in premise, but some of the latter film’s most iconic shots were taken
right from this earlier Universal film. While ‘Creature’ lacks a more human
side to its monster and some of the atmosphere brought about by the benefit of
shooting in a studio, it does excel in its brilliant underwater scenes and the
excitement of scientific discovery experienced with its characters.
22. The Longest
Day (1962) – 9/10
The events of D-Day, the invasion of Normandy in June
1944 are told on a grand scale from the perspective of the Allies and the
Germans. “The Longest Day” is one of the most ambitious films I’ve ever seen,
and one of the all-time greats of the war movie genre. The collective work of a
highly involved producer, three major directors, an enormous international
cast, consultancy by those that experienced it and able studio management
behind its French locations and it all flows so smoothly. Where some films’
success is attributed to certain individuals, this isn’t one of those films.
Everyone has their little role to play in a bigger picture recreation of the
D-Day landings. The incorporation of multiple perspectives is one of the
crucial elements in this film’s standing up against other genre classics. While
the segments of the Americans make up what I consider to be the best parts of
the film, and it portrays the mission taken on by the US, Britain and the
French resistance as of the upmost importance it doesn’t ignore what the
Germans saw. There’s no political criticism of the Nazi regime or vilification
of the German army. They’re portrayed maturely as a military organisation
that’s fighting for its own interests in opposition to their enemy who we see
as history’s heroes. The viewing of “The Longest Day” invites one into a
cultivated experience of one of history’s greatest battles with monumental
scope and meticulous attention to finer details, and it makes the near-three
hour runtime just fly by.
23. Das Experiment
(2001) – 8/10
20 participants take part in a simulation of prison life
for a psychological study, but as tensions mount between the guards and inmates
what should have been a civil exercise becomes unstable. German film director
Oliver Hirschbiegel of “Downfall” fame proved himself as gifted in his use of a
variety of cinematic techniques before his acclaimed WWII drama. His
dramatization of the Stanford prison experiment of 1971 is one part
exploitation movie and one part cautionary tale. Its themes of power and its
abuse on a psychological level are taken to the extreme. It’s far more than
just a question of how ethical the scenario these characters are put in, but is
more suggestive of the fragility of the human psyche. Can people really
transform from moral, stable members of an organised society to barbarians
simply for the need to keep control if a situation allows it. Whether or not
there’s any objective truth to this is debatable. I adore the film’s mixed use
of traditional cinematic technique with more ‘amateur’ presentation. It ramps
up the discomfort factor and had me empathising with these prisoners on a very
instinctual level and showcased Hirschbiegel’s brilliant way of mating style
with intention.
24. Batman &
Robin (1997) – 3/10
Batman and Robin find their relationship deteriorating in
the wake of the appearance of two new supervillains, Mr Freeze and Poison Ivy,
both of whom have their own evil intentions. The fact that Warner Bros almost
continued with the never-made Batman Triumphant after this disaster horrifies
me. “Batman & Robin” is superhero filmmaking at its absolute worst and
makes Schumacher’s previous instalment “Batman Forever” look like “The Dark
Knight” in comparison. You can hardly even begin to rip into this once great
superhero series turned into a multimillion dollar toy commercial, but I’ll
attempt to summarise. The dialogue is nothing short of horrendous in so many
ways. When it isn’t drenched in puns, exposition and other corny lines that
seem like they were pulled from a children’s show, all these characters seem to
do is bicker, leaving none of them sympathetic. It suffers from multiple cases
of miscasting and poor performances. George Clooney is uncharismatic as Batman,
Chris O’Donnell is an annoyance, and the goofiness of Uma Thurman and Arnold
Schwarzenegger is beyond any kind of redemption. What’s worst of all is that it
doesn’t take Batman seriously in any way, and that’s always gonna make a movie
with this many failures in logic even more sufferable. There’s some small joys
to be had in its camp/unintentional comedy, but it’s mostly a gigantic bore.
25. Scarecrows
(1988) – 7.5/10
Following a heist, a gang of thugs take a pilot and his
daughter hostage and find themselves chasing after their lost loot in a
graveyard surrounded by scarecrows. One of my first DVD purchases released by
Australia’s Cinema Cult distributor is a very patient, but suitably so and
effective horror film. The immense darkness that’s almost totally impervious to
limited lighting encourages a moods of uncertainty that are exacerbated by the
characters’ broadcasts to one another. You feel like an eavesdropper that’s
experiencing the horror with them. The design of the scarecrows is very
daunting, and inspires nothing less than fear during their limited time on
screen. As deplorable as these people are, the dismay of a life-or-death
situation brings you to feelings of moderate sympathy. Shame some of the
editing in some scenes work against it, and I was almost taken out of the
entire experience when it momentarily began shifting between night and early
morning in opposing shots.
26. Night and Fog
(1955) – 8/10
A short history of Nazi Germany’s system of concentration
camps, the inhumane practices carried out by administrators and the experiences
of the inmates. Despite running only a little over 30 minutes, the French
documentary on the Holocaust is a milestone in documentary filmmaking. I can
only imagine how much more of an impact this held on Europeans in 1955. The
explanation of the methodical approach to mass murder carried out by the regime
is hardly a rarity in today’s history programming. “Night and Fog” reigns
superior for its cinematic power. It combines real footage of the Holocaust’s
perpetration with seemingly harmonious colour footage of the camps over a
decade later. A desolate mood permeates through these images, only to be
juxtaposed with shocking images of crematoriums, gas chambers, human
experiments and emaciated bodies bulldozed into pits while others clinging to
survival watch helplessly. Michel Bouquet’s narration is both poetic and
respectful. Fundamentally important to both film as a growing medium and
history at large.
27. Alien:
Resurrection (1997) – 5/10
200 years after her death, Ellen Ripley is cloned and has
her DNA spliced with that of the aliens, but when the scientists who gave her
new life start breeding them she battles with a band of space criminals to
destroy them. The fourth film in the beloved Alien franchise is a real
underachiever. It’s not that it’s an atrocious movie, but rather the fact that
it lazily recycles everything from the previous three. Sigourney Weaver is treading
in different territory playing a clone rather than the real Ripley, and
consequently she’s both equally out of character as she is bored with the role.
The secondary cast doesn’t even perform that badly, but their characters are
written as imbeciles, constantly rejecting common sense approaches to their
situation. On the bright side, the aliens look as great as ever, the dark
visuals enhance the mood of despair and isolation the series is so famed for
and the human-alien hybrid as a concept that’s nice to play around with (even
if it’s realised too late). It’s a shame that director Jean-Pierre Jeunet of “Amélie”
and “Delicatessen” and writer Joss Whedon don’t amount to much more than a
generic sequel that imitates its predecessors too closely.
28. Helter Skelter
(1976) – 8/10
After the vicious Tate-LaBianca murders of 1969, a
Californian attorney leads the investigation and prosecution of Charles Manson
and the cult he calls his ‘Family’. The most well-known adaptation of the
best-selling novel “Helter Skelter” is an exceptional TV movie. It’s both a
great insight into the mind of a madman, and a sound depiction of courtroom
processes we’ve seen in countless other films. I was quite astonished by my
interest in the many sides to the story of this cult and the murders, so much
so that the 3 hour runtime simply flew by. While George DiCenzo played the late
Bugliosi with passion, I was far more compelled by the portrayal of Manson and
his followers. In the case of Steve Railsback as Manson, it’s one of those rare
performances where you feel you’re staring the real madman right into his
glaring eyes. There’s nothing but conviction in his portrayal of insanity,
uncompromising dedication to a false belief system and his god-like control
over those close to him. Wolfe and Paine deliver considerably as Susan Atkins and
Leslie Van Houten. The courtroom scenes in the latter half of the film really
make it what it is.
29. Mad Max: Fury
Road (2015) – 8.5/10
In the post-apocalyptic Australia, Max Rockatansky joins a
woman and a group of female prisoners rebelling against a tyrannical ruler
while they search for their distant homeland. Almost 29 years had passed since
the previous instalment “Mad Max: Beyond Thunderdome.” George Miller proves
that he remains completely in touch with what gave the series such a cult
following. It’s not just a great action movie, but totally flattens two of the
earlier movies and is equal with the acclaimed “The Road Warrior” in greatness.
Tom Hardy replaces Mel Gibson in the title role, and I can’t imagine a better
replacement. His masculine ruggedness and preference of emoting through facial
expression as opposed to speech is not only familiar to Gibson, but feels very
natural too. The treatment of this character seems appropriate for what is as
much a reboot as it is a sequel. Little visual cues suggestive of Max’s past
will please all long-time fans, and clearly explain some crucial story history
for newcomers. Where it soars to greater heights than the earlier films is in
the creation of this post-apocalyptic world. Everything from attire, props,
vehicles and character behaviour is true to its origins, but with a greater
budget, Hollywood-grade cinematography, CGI and suitable location choices,
they’ve performed better than ever. At times though, “Mad Max: Fury Road”
prolongs its action and chase sequences for way too long, inhibiting necessary
drama and a chance for the audience to catch its breath. Besides that, it’s a
great tale of a world where human civility and society has broken down, power
is in the hands of the insane and survival is a daily battle.
30. Ali (2001) –
7/10
The life and career of Cassius Clay/Muhammad Ali from his
initial enjoyment of the Heavyweight Championship to his trials and
tribulations with conscription, the Nation of Islam and other personal
setbacks. “Ali” is a fine biopic by director Michael Mann, however I do feel
it’s a step down from his previous efforts with “The Insider,” “Heat,” and his
later work on “Collateral”. It works very well in a human approach to the story
of Muhammad Ali. It celebrates his excellence as an athlete, and never ignores
the pitfalls of his arrogance, uncompromising beliefs and relationship dramas.
Will Smith is a fantastic actor, however I never accepted him totally in the
title role. I felt I was looking at an actor onscreen as opposed to the boxing
legend. In all its realism though, it feels almost like an underachiever. Ali’s
lasting impact on both the world of sport and liberation of black Americans is
never really spotlighted, so you feel as though the biopic of an all-time great
feels a bit more like a flavour of the month.
31. The Outsiders
(1983) – 8/10
A bitter rivalry between two gangs of youths reaches a
boiling point when one Greaser kills a rich Soc in self-defence. Francis Ford
Coppola may have dominated the 1970s, and has had on-and-off success since.
“The Outsiders” is one of his post-Apocalypse Now greats. It’s an emotional
ride that gets into the mind of young people in the past, and touches on socio-economic
divides, the struggles of growing up and showcases the various talents of the
‘Brat Pack’ group of actors. Taking place in 1965, you’d swear it was an honest
depiction of the 1950s free of romanticised domestic idealism that examines the
era through the eyes of troubled youth. I found this story deeply relatable.
While I neither grew up in the time, nor did I engage in some of the acts that
the Greasers do, I found inklings of myself at different ages reflected in
Ponyboy, Dallas and Johnny. Unlike many of John Hughes’ excellent teen films of
the time that tend to focus on the middle class, “The Outsiders” is somewhat
darker in its tone and necessary for exploring youth on the wrong side of the
tracks.
32. Inside Out
(2015) – 8/10
When 11 year old Riley moves to a new home in San
Francisco, her personified emotions struggle to make sense of her new life and
restore balance to her mind. The highly acclaimed new release by the brilliant
studio Pixar is one of their most ambitious efforts ever, and fortunately it
pays off very well. It has its roots in a subject requiring a lot of research
and a touch of evaluation, and risks sailing into too intellectual territory
for a family film, but manages to keep its emotional core at the forefront. I
loved Pixar’s portrayal of the workings of the human mind, from the selectivity
of moods, the nature of memory and its links to real-life actions. Best of all
though, it created an idea that feelings themselves have feelings. Joy’s plight
to ensure Riley’s optimum happiness, and Sadness’ struggle to prove herself tie
in closely with crucial aspects of the human experience. Furthermore, I loved
the animation and lively use of colour to reflect changing moods of its
characters. “Inside Out” is a wonderful success for Pixar for being both
thought-provoking and full of heart.
33. Blood Feast
(1963) – 7/10
An Egyptian caterer goes on a spree killing in a ritual
paying tribute to an Ancient Goddess, whilst a detective tries to track him
down. “Blood Feast” is my first sitting for a movie by ‘Godfather of Gore’
Herschell Gordon Lewis, and beyond just being a prime example of exploitative
filmmaking, it also finds itself in the realm of so-bad-it’s-good. The sets are
cheap, the dialogue consists of nothing more than characters explaining the
plot to one another and the acting is plain laughable. Mal Arnold is unintentionally
comedic as its villain, appearing almost like a wannabe monster from an old
Universal horror film. When “Blood Feast” isn’t a failed horror excelling as
comedy, it really does live up to its title. The violence is disgusting, drives
a curiosity towards older effects and is totally beyond most films of its time.
34. The Way of the
Dragon (1972) – 8/10
Martial artist Tang Lung travels from Hong Kong to Rome
to help his relatives defend themselves against the criminals harassing them
over the ownership of their restaurant. It seems like a real debate over what
Bruce Lee’s best movie was. I still prefer the earlier “Fist of Fury” and the
later “Enter the Dragon”, but I still hold this in incredibly high esteem.
Working within the same formula as those other films, it’s a recipe for a
thrilling kung fu movie. Lee may not have been an exceptional dramatic actor,
but nevertheless presents a great skill at acting through facial expression,
all the while far more can be said about his exceptional stunts and
choreographed fights. “The Way of the Dragon” stands out for its boisterous,
but nevertheless clever humour, and a fantastic showdown between Lee and Chuck
Norris in the Colosseum.
My Top 10 Movies for November 2015
1. The Longest Day
2. Dark Water
3. Fright Night
4. Mad Max: Fury Road
5. The Outsiders
6. The Tingler
7. Helter Skelter
8. Inside Out
9. Das Experiment
10. Selma
Worst Film: Batman & Robin
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