I don't want to start this entry into my Film Summary series talking about what happened in my December as much as I want to reflect on the lessons the year provided me with in general. Regarding the last few weeks, I worked harmoniously at the firm that employs me, I resumed the development of the story for the amateur horror short that my friends and I are working to bring to life, and I absolutely indulged in being on break from University (a place that has given me an insufferable level of frustration and unhappiness).
2015 as a whole. It was a year that I saw dramatic improvement in many ways. Some months ago I reacquainted myself with the written works of an Australian motivation speaker that gave me a new lease on life. The seminar I attended while I was in school tickles just as many vibes of encouragement as the books I've read all these years later.
My physical health has steadily improved (perhaps not to the degree I would have liked, but it's better than nothing). I've gained a firmer grasp on my anxiety disorder, becoming increasingly less reliant on medications and have begun to act upon what I believe may be mild depression as well.
I gained greater confidence to take my academic life into my own hands. I'm much less apprehensive over family pressures and feel far more empowered to be making choices on my own. Even if I can't live the dream, I want to at least work in a job I can feel satisfied in, and these choices are geared towards that.
The end of 2015 marks four years since my graduating high school. It need not be said that these days are slowly fading away into the annals of memory. Having being victimised by harassment and misinformed judgement by my peers, I left high school with a lot of feelings of contempt towards these people for their part in shaping me into becoming a reclusive person with self-esteem issues. In recent weeks however, I've begun to contend with this past with some much-needed objectivity. The irrationality of hanging on to these negative experiences is becoming evident to me. I can't let the hate consume me, and the picking up all the other pieces and living life to the fullest is long overdue. The past is the past, and I intend to work to make my future better and try to move past the last four years of disarray.
That summary sure was long, but I do find it a healthy way to let out those feelings about life. On to movies now. I saw a total of 31 films in December 2015, including the hugely anticipated new release of the Star Wars saga! Here's what I had to say about them.
1. Red River
(1948) – 8/10
A rancher finds his 14 years of work at risk in
post-civil war Texas and leads a cattle drive to Missouri, only to find
complications arise from his tyrannical behaviour towards his workers. “Red
River” is one of the great Howard Hawks’ ventures into the Western genre, and
it’s a great one at that for its character-driven story and contrast between
classic American idealism and the untamed frontier of the 19th
century. At its very best, it’s a character study of a highly conflicted
individual in Dunson, played by John Wayne. We’re as uncertain about this man
as he is about himself, with suggestions over his blind ambition, short temper
and stubbornness. Fascinatingly, the contrasts with Montgomery Clift’s
character Matt and their relationship push what would normally be a tale of man
vs the wilderness to one of family conflict. While its climax leaves a bit a
bit more to be desired due to a sudden change in mood, “Red River” excels in
its recreation of a treacherous era and its holding the audience by the throat
of suspense.
2. The Fearless
Vampire Killers (1967) – 7/10
A professor and his clumsy accomplice travel to the icy
tundras of Transylvania to stop a local vampire menace and save a damsel.
Admittedly I was more drawn to this film for some historical significance. It
was the film that brought director Roman Polanski and actress Sharon Tate
together before their marriage would be ended by the Manson family murders, but
even so it’s an effective comedy. Regarding Polanski’s filmography, it’s no
“Chinatown” or “The Pianist”, but it does have a few key qualities that I find
impossible to ignore. The look of the film is phenomenal, from the snowy
landscapes, spooky sets and terrific makeup on the vampires. I couldn’t help but
draw comparisons to the Hammer horror films of the time, namely their version
of Dracula. The humour is chuckle-worthy, but ranges from overtly goofy to
subtle. The antics of the two main characters, played by MacGowran and Polanski
drive it, but minimal character development hindered any investment beyond
aesthetic appreciation for me.
3. Nicholas and
Alexandra (1971) – 9/10
The story of the reign of Russia’s last Czar, Nicholas II
and his eventual downfall following WWI and the Bolshevik Revolution. Behind
every ruler is a human being so complex and distinctive in their own way that
you can hardly pin them with political positions and say “That’s them.”
Historically speaking, I view Nicholas II in poor light due to his incompetence
matched only by his autocracy, but as a story told on film it’s nothing short
of a tragedy with a truly epic scope. The recreation of early 20th
century Russia by director Franklin J. Schaffner (Patton, Planet of the Apes)
is impeccable, and highlights the distinctions between the privileged palace
lifestyle of the Romanovs with the poverty of Siberia and the urban working
class. Michael Jayston is the splitting image of the monarch, and portrays the
character with great humility. There’s no apologising for Nicholas’ cluelessness
to maintaining social order, compromising with government officials or
conducting war, but a sentimental approach to the Czar’s relationships with his
wife and children is so driving emotionally that you can put his mistakes down
to the dirty world of politics. The various roles in this tale depicted by the
likes of Rasputin, Kerensky and the Bolsheviks all act as complimentary
components to a bigger story of a leader’s fall from grace. A brilliant
historical drama and personality study.
4. Chicago (2002)
– 7.5/10
An aspiring performer finds herself on death row, and
tries to use media sensationalism and her popularity with the people to
manipulate her way to freedom to pursue her dream. The Best Picture winner of
2002 comes off as largely undeserving of the award for its excessive reliance
on style over actual content. That said though, it’s quite riveting as a
musical despite a shallowness that’s persistent. Renée Zellweger and Catherine
Zeta-Jones perform well in both their usual acting as well as their catchy
musical performances (not exclusive, but very much centred around them). The apparent
insincerity, irresponsibility and self-indulgence applied by the main character
Roxie Hart makes her very unlikable, but nevertheless an object of fascination.
These character traits tie in suitably with its more thought out ideas over the
emptiness of fame and greed-driven corruption. It’s a fine depiction of 1920s
Chicago, but even better for its grand cinematography on stage and classic pop
and jazz numbers. Approach it as that as opposed to being a drama, and you’ll
get the most out of “Chicago.”
5. Child 44 (2015)
– 7/10
In the Stalin-era Soviet Union, an MGB officer is
stripped of his status for refusing to denounce his wife as a traitor and
pursues the answer to a series of child murders. I had high hopes for this,
only to have them somewhat tainted by a largely negative response. My final
verdict on “Child 44” is that it’s decent enough a recreation of this place and
time in history, but a very generic political thriller. A fine cast lead by Tom
Hardy and Noomi Rapace provide decent performances, however I find the use of
Russian accents to be distracting. They’re either excessively stereotypical or
simply inconsistent, detracting from the great realism achieved through its
sets and use of colour that promotes the desperate mood experienced by several
characters. The main issue is in writing. “Child 44” is never fully aware of
which of its plot threads it wants to follow, and the consequence is an
underwhelming reaction to its already clichéd turns in story. I loved how it
depicted the horrors of Stalin’s Russia in a way that didn’t feel like
anti-left wing propaganda, but in the end it feels like a missed opportunity in
so many ways.
6. Elizabeth
(1998) – 7.5/10
The early reign of Queen Elizabeth I as she contends with
the role of a monarch, the opposition by the Catholic Church and threats to her
throne. “Elizabeth” is a fine biopic that covers the earlier end of the
Royalty’s Golden Age as well as the workings of the politics of absolute
monarchy in the 16th century. Cate Blanchett delivers a somewhat
reserved, but nevertheless passionate and believable performance in the titular
role of the revered Queen (and putting herself on the Hollywood map in doing
so). Wonderfully supported by the likes of Richard Attenborough, Geoffrey Rush
and later Doctor Who and James Bond stars Christopher Eccleston and Daniel
Craig (in a very minor role). “Elizabeth” performs best through the burgeoning
questions over religion consistent throughout. Issues of Elizabeth’s
Protestantism, tolerance of minority faiths and the place of religion in government
exemplify the differences between the period depicted and the modern world,
which are complimented by a choir soundtrack that adds a touch of spirituality.
7. Five Easy
Pieces (1970) – 8/10
A man working on oil fields that suffers from
relationship issues and a lack of direction in life has to confront the family
he left behind when he learns his father is sick. The Best Picture nominee that
partially helped turn Jack Nicholson into a huge star remains somewhat
forgotten in the general public conscious, and I’m not sure why. “Five Easy
Pieces” is a relatable character study about the need to find place and purpose
in one’s existence, and this is greatly exemplified through Nicholson’s performance
as Robert “Bob” Dupea. Despite being often unsympathetic due to his emotional
distance and rejection of his cultured upbringing, but isn’t always so due to
what’s more relatable about him. Themes of lost potential and dissatisfaction
with the current state of being are undoubtedly something we’ve all experienced.
An ambiguous ending that’s consistent with aforementioned character traits
leave much room for speculation long after viewing ends.
8. Satellite in
the Sky (1956) – 5/10
The world’s first satellite vehicle is launched by the
British, who are also carrying out a secret atomic test which threatens the
lives of the crew following an unexpected accident. “Satellite in the Sky”
offers ideas in both general sci-fi storytelling and the Cold War subgenre that
would be perfected in other films, but unfortunately this time around it lacks
excitability and is far too ambitious. It depicts an understanding of the
nature of space and comparisons with Earth’s physics that are both overly
simplistic and not particularly fascinating either. The cast of characters are
one-dimensional stereotypes that are written solely to react to the changing
circumstances of plot. The sets and special effects are hokey even by the
standards of 1950s production values. You might giggle at their cheapness and
certainly won’t ponder for long about their making as you would other films of
the time. It may have great ideas that are seeds for something bigger, but
generally it’s just too unintelligent and too under-budget for my liking.
9. The Frighteners
(1996) – 8.5/10
A man with the ability to communicate with the dead
becomes aware of a demonic entity terrorising the locals of the town, and takes
to save them despite his reputation as a scam artist. “The Frighteners” marks
Peter Jackson’s entry into mainstream filmmaking, and is a fantastic merger
between his later big budget efforts and his earlier B-grade, violent horror
classics. There’s a fantastic joy in the combination of both horror and comedy that’s
appropriately similar to films like “Bad Taste” and “Braindead” and it’s
nothing short of endearing to see a filmmaker maintain his creative integrity
during a time of greater studio involvement. Michael J Fox delivers a leading
performance that is equally quirky as it is heartfelt, complimented by a
balanced script that keeps the laughs coming without expending drama necessary
to our investment. Several instances of set-up/payoff and intertwining
components of story are only outshined by the alluring creativity behind the
making of this fictional world where ghosts and the living share a place on
Earth.
10. The Monster
Squad (1987) – 8/10
While Dracula gathers a band of monsters to help him take
over the world, a group of young horror movie enthusiasts prepare to strike
back and save their town from their own fixation. “The Monster Squad” is much
like the other films about youth made in the 80s and early 90s. They have their
obvious family appeal, but a certain roughness around the edges that separates
them from more modern genre examples. In the case of this film, I find its
celebration of childhood equalled by a real passion for the classic Universal
monsters very endearing. While its performances are generally not all that
notable save for Leonardo Cimino as the aptly named ‘Scary German guy’, I find
it to be more of a story movie than a character movie. It’s depiction of the
likes of Dracula, Frankenstein, the Mummy and others is very in keeping with
what Universal did in the early half of the 20th century, but also
inventive enough to offer a distinctive touch. While not particularly as
enthralling for its horror qualities, the humour cleverly borders between
family-oriented and adult.
11. Lawless (2012)
– 8/10
Set in Depression-era Virginia, a trio of brothers find
their bootleg alcohol distillery and livelihood under the threat of a corrupt
law official that appears on the scene. “Lawless” offers an intriguing reversal
of hero-villain roles amid a turbulent time in American history. It depicts the
woodlands of Franklin County almost like a contemporary world of the Wild West
that somehow survived into the 1930s through the constant blurring of the
relationship between authority, legitimacy and the demands imposed on people
for survival in an uncertain time and place. Despite finding themselves on the
wrong side of the law, Jack and Forrest (played finely by Shia LaBeouf and Tom
Hardy) represent the fragments of morality in the criminal world, the hardships
faced by rural poor during the Depression, but most of all the unifying power
of family bonds against all odds. A different kind of crime movie, which I
suspect achieved more than originally expected.
12. Despicable Me
2 (2013) – 7.5/10
Gru is equipped by the Anti-Villain League to investigate
an evil plot involving a supervillain previously believed to be dead. The
sequel to the much loved “Despicable Me” will undoubtedly appeal to fans of the
first film, and offers enough laughs to get past its inherent lack of necessity
and reliance on formula. Gru (voiced by Steve Carrell) is just as lovable as
ever as the supervillain-turned-good guy, as are the iconic Minions, who seem
to have taken on a life of their own in modern popular culture. While the
humour really milks the potential of the Minions to excess, it never forgets
imposing focus on its main character and his relationships with others. Where
does it suffer though? I feel that the heart of the original isn’t as evident
in this follow-up, and a very rushed ending fails to cap off a surprisingly
decent premise for a sequel.
13. Thirst (2009) –
8.5/10
A priest volunteers to take part in a research project to
eradicate a virus and finds himself stricken with vampirism and forced to
abandon his religious ways whilst he finds love in his childhood friend’s wife.
“Thirst” aka Bakjwi is yet another expectedly brilliant film by Korean director
Chan-wook Park. Beyond being a clever modern vampire film, it’s also a highly
unorthodox love story and an insight into spirituality and faith. I found
myself comparing it to one of my favourite movies “Let The Right One In” so
regularly, and I urge any fan of that to investigate Park’s film. A gloomy
visual style permeates the cinematography, visually complimenting its themes of
morality, religion and the venture for purpose. What strikes me as far more
fascinating is the complexity in the romance between Sang-hyun and Tae-ju. It
can be at one moment deeply touching before wavering towards deviant,
disturbing and highlighting the abysmal lack of redemption for these two
people. It’s a story about falling from grace, contending with becoming a
monster and inordinate passion all at once. When Park set out to make ‘an
illicit love story’ and a ‘vampire movie,’ he succeeded.
14. Ant-Man (2015)
– 8/10
An ex-con finds himself tasked with a mission bigger than
him when he obtains a special suit that allows him to shrink in scale and he
helps an ageing scientist conduct a heist on a former colleague’s company. I’ve
generally been impressed by what I’ve seen from Marvel Phase Two, and “Ant-Man”
is hardly an exception to that fact, and to my surprise it’s certainly not the
gargantuan, battle-riddled action flick I was initially expecting. Its high
concepts soars to the sky and hooks like nothing else, but where it does have a
very character-driven story to back this up. Scott Lang is the kind of
superhero that defies the usual mythology. He’s not an extra-terrestrial, a
billionaire, a Norse god or even a Russian spy. He’s just an average guy
looking to make his way in the world and is instantly relatable because of it.
When it gets down to the selling point of action scenes, it’s barely
distinctive, but a greater preference towards suspense and decent humour over
special effects-laden indulgence is noteworthy.
15. The Legend of
Paul and Paula (1973) – 7/10
Two people living in East Berlin find their love lives to
be unsatisfying and that they’re left disillusioned, until they meet one
another and their own romance is restricted by life’s responsibilities. It’s
one of the most renowned examples of the cinema of the former GDR, and offers
some key ideas of interest despite having a mostly generic romantic story. Paul
and Paula both exercise an attitude of living life to the fullest and defying
the rigid societal norms of East Germany in pursuit of their own happiness.
Through this, it also communicates that while the little socialist republic
aimed to build a worker’s paradise, it can’t make the search for true love any
easier. While some shortcomings in the subtitling on my DVD and occasionally
poor production values damage the experience, it’s given crucial elements that
separate it from the West’s cinema through its depiction of life outside of
politics, and a great use of East German rock n’ roll.
16. The Piano
(1993) – 8/10
A mute Scottish woman is pulled away to 1850s New Zealand
for an arranged marriage with little more than her daughter and her precious
piano, and finds herself entangled in a romance with a plantation worker closer
to the Maori locals than the other British. In a filmmaking book I read and
praised greatly, “The Piano” was mentioned quite regularly. This quaint drama
from New Zealand demands appreciation for its visual-oriented storytelling and
great use of cinematic techniques. Holly Hunter displays immense talent in the
role of Ada, having to rely solely on facial expression and body language for a
leading role that, despite having no lines turns out to be sympathetic. Hunter
is wonderfully supported by the great Sam Neill and Harvey Keitel. Where “The Piano”
shines however is in its emphasis on cinematography. Atop just being an
aesthetically pleasing collection of images of the untouched New Zealand land,
subtle changes in image tone and brightness mirror the deepening plight of the
main characters. While it is a period piece that partially explores
settler-Maori relations in the 19th century, a very genuine-feeling
romance takes home the trophy.
17. American
Sniper (2014) – 7.5/10
Navy S.E.A.L. Chris Kyle’s skills on the battlefield make
him the deadliest sniper in US military history, and finds that at the expense
of his family he can’t give up on the war he committed himself to. The
unfortunate reality is that finding a great deal of enjoyment in “American
Sniper” demands you separate the fiction of this film from the realities of who
Chris Kyle was, and it’s not always easy. Fortunately though, it does boast
some very clear talents. Clint Eastwood’s direction is marvellous, and his
cinematic recreation of the Iraq War is visceral and highly authentic, down to
the point where you feel as though you smell the gun smoke and taste the soil.
This and his earlier efforts with his Iwo Jima films demonstrate his great
talents in constructing battle scenes from a variety of contexts. So why not
rate it higher? The film paints an Islamophobic, dangerously nationalistic
sociopath as some kind of hero. Furthermore, the entire show feels politically
one-sided, appealing to right-wing views that favour the war in Iraq, America’s
place as ‘the greatest country on Earth’ and the savagery that all Muslims
supposedly exhibit. This kind of film with a cast and crew this strong has the
power to be a modern genre classic, but flaws in script can’t be made up for
with great production and the talents of Bradley Cooper.
18. Star Wars: The
Force Awakens (2015) – 9.5/10
Thirty years after the destruction of the Second Death
Star, the galaxy finds itself in a new conflict between the militaristic First
Order and the former Rebel Alliance now known as just ‘The Resistance’ while a
band of heroes contend with the villainous Kylo Ren. I don’t think I could
possibly be more astonished with how outstanding the new ‘Star Wars’ film is,
and trying to articulate this in a review of this size is simply too ambitious,
so I’ll try to keep it short. All the heart of the original trilogy of films is
back, but JJ Abrams’ direction and the wonderful script offer enough to chew on
for it to stand on its own as its own feature as opposed to just a sequel to a
popular film franchise. Daisy Ridley and John Boyega make for fantastic choices
as new leads, but like almost everyone my eyes were rather focused on its cast
returning for the first time since 1983. The continuities and changes in both
Han Solo and Leia feel both genuine, but also appropriate for the context of
this fantasy tale. The novelty of seeing characters you love so much is
equalled by the fixation you’ll have on the new villain, Kylo Ren (played by
Adam Driver). Terrifying, deeply tragic and a real mystery all at the same time,
he may be the only villain in this saga that can hold a candle to Darth Vader.
The respect Abrams has for the origins of his story are so evident and
expressed with a humility that doesn’t intend to undermine his own work. Styles
in cinematography, characterisation, dialogue, action and humour are consistent
with Lucas’ originals, and the odd throwback to these films we cherish so
dearly warmed my heart like no other movie has in a long time. I’d hate to
spoil the viewing of this epic for anybody, so I’ll conclude with this. “The
Force Awakens” captures the magic of Star Wars perfectly without simply copying
the originals. You’ll experience so many emotions if you’re as huge a fan as I
am and you’ll be hungry for what else is in store.
19. The Hobbit:
The Battle of the Five Armies (2014) – 8/10
After reclaiming the Lonely Mountain from the dragon
Smaug, Bilbo and the company of dwarves contend with a final war to save it
being taken over by an army of orcs. I was initially angered by the title “The
Battle of the Five Armies” feeling it didn’t capture the spirit of what Middle
Earth was all about, but after viewing it I can hardly suggest anything else.
It seems that Jackson and his team became far too ambitious in making a trilogy
out of The Hobbit and stretched themselves dangerously thin. As great a
privilege it always is to return to the fantasy world of Tolkien’s creation,
this instalment is the only one, to me, that feels like it’s struggling to find
something to do with its characters. My main gripe is the huge emphasis on
Thorin’s fall into the abyss of greed. It’s hardly a tale that hasn’t been seen
before and it epitomizes some of the film’s central themes. The problem is that
this is the story of Bilbo Baggins, and it’s pushed aside. The battle that title
suggests of is a visual feast of epic proportions and levels that of what we
had seen in The Lord of the Rings, but again it’s as though it’s forgetting
what it is. The final instalment of The Hobbit series might be great if watched
in conjunction with the previous two, but watching it separately it doesn’t
stand on its own despite a few truly great qualities.
20. Ghost (1990) –
8/10
A young man is murderer in what appears to be a mugging
gone wrong, but he returns to Earth as a spirit and learns that his death was
no accident, that his lover is in danger and enlists the help of a reluctant
psychic. “Ghost” delivers promisingly on its high concept premise, and provides
the opportunity to showcase the varied acting talents of its three leads. While
at times “Ghost” does suffer from being overly sentimental and a bit
melodramatic, but at its core is a tale that values truth, love and the
qualities that make a good human being. The late Patrick Swayze performs
admirably as Sam, giving life to the role of a dead man through epitomizing
what dedication to a romantic partner entails. My interest was mostly on Whoopi
Goldberg, who delightfully balances comedic relief and the embodiment of
purpose on Earth. The chemistry between her and Swayze is such a fixation that
Demi Moore and the generic villains are left in the dust. The non-religious
approach to the concept of spirits and the afterlife offers the opportunities
for both wider appeal and honest suggestions about the nature of life and death
to all people.
21. Elf (2003) –
7.5/10
A human raised on the North Pole by elves travels to New
York City to find his real family, only to learn his father is devoid of
Christmas spirit. For years I was under the impression that “Elf” could never
achieve the wondrous seasonal celebration of classics like “It’s A Wonderful
Life” and “Miracle on 34th Street,” but I really was taken by
surprise by just how funny and in love with the holidays it is. The December
festivities are realised immediately on aesthetic levels through music and a
varied choice of images, ranging from a snowy Big Apple to the deliberately
cartoony sets of Santa’s workshop and a more general use of bright colours.
Will Ferrell impresses greatly with excessive cheer as Buddy, and despite being
an incredibly annoying character his overall enthusiasm towards the holidays is
a great delight. The opposing performance by James Caan as Walter offers a
suitable personification of the themes of Christmas cheer and society’s
diminished example of it. At times the humour can be juvenile, but when it gets
it right (and it does so most of the time) you’re left with an effective
feel-good comedy that draws you into the childlike simplicities that make up
the ‘happiest time of the year.’
22. X-Men: Days of
Future Past (2014) – 8/10
In the wake of a conflict between mutants and the
Sentinels trained to hunt them down, Wolverine is sent back in time to 1973 to
aid a younger Xavier and Magneto in preventing that future from coming to be. I
struggle greatly over deciding whether I prefer this over “X2: X-Men United,”
but regardless it’s by far among the very best films in the long-running
superhero series and a wonderful fusion between “First Class” and the earlier
films. The dual (although far from equally represented) tale that takes place
in both the 1970s and modern times is an interesting experiment in structure
for what has traditionally be a very traditionally told hero’s tale. While I
feel the develop of Wolverine has progressively become worn out over the course
of countless instalments, where it does succeed is through Xavier, Magneto and
Mystique, played by James McAvoy, Michael Fassbender and Jennifer Lawrence.
Besides articulating the wobbly, but very genuine values between them, you’re
given a special insight into sides of these characters that have rarely been
seen before. A high-stakes climax and a great ending open up room for potential
reinvention in the future of the X-Men movies.
23. Piranha (1978)
– 7.5/10
A genetically engineered strain of piranha is released
from a government research lab and into the river of a small town, where the
locals become the next meal. “Piranha” is cheap, B-grade trash, but it’s
enjoyable trash with an established cult associated with producer Roger Corman
and director Joe Dante. “Piranha” lacks any of the budgetary power seen in
Dante’s later great efforts with “Gremlins,” “The Howling,” “Innerspace” and
others. However, it works very well as a knock-off of “Jaws” and sometimes
enters the realms of so-bad-it’s-good (but perhaps it doesn’t quite do this
enough). The characters are simpletons and the script is hugely expository.
This miniscule emotion investment is made up for by our insatiable craving of
seeing as many people as possible fall victim to cheap special effects, buckets
of fake blood and a sound that sounds more like a whirring machine than a
piranha attack. For something that tries quite hard to be a little more than
what it really is, the film carries a very enthusiastic vibe that would be
carried on in Dante’s future career.
24. Stalker (1979)
– 7.5/10
A gifted man leads two followers away from
their industrial town to a place known as ‘the Zone’ in search of a room with
the power to grant wishes. “Stalker” is a film I find very hard to talk about,
not only because I can’t seem to decide what I like most about it, but I’m also
levelling out how appealing it is to most moviegoers against its huge artistic
merits. It’s the third film by Soviet director Andrei Tarkovsky I’ve seen (the
other two being Ivan’s Childhood and Solaris) and by far the best. Regarding
premise, it seems a very basic tale of a journey for happiness, but what’s
happening beneath is what really makes it so distinctive. Through the wandering
discussions between its characters, cinematography that greatly utilises colour
to express changing moods and long takes to assist in your absorption, the film
explores many ideas. These range from the philosophies of religion, the dangers
of human desire and the understanding of the subconscious self, but
occasionally it feels a little too dense in this respect for its own good.
Being free of any specific social context allows “Stalker” to transcend any
kind of political boundary, but due to it being very uneventful and drawn out,
it might be an experience for the art film crowd only.
25. Wadjda (2012)
– 8/10
An industrious and independent young girl living in
Riyadh enters her school’s Koran recitation competition to raise money for a bicycle.
Given how difficult select releases can be to come across in Australia,
“Wadjda” is one of the few Middle Eastern films I’ve had the pleasure of
seeing, and this little Saudi Arabian gem would be a great starting point for
anyone who is interested. The depiction of life in this country is driven by a
desire to present the absolute truth, but without taking a stance that is
anti-Islam or pro-West. The conservatism of Wadjda’s world is made up of rigid
social codes over religion and gender roles. Given the context, it’s hard not
to find yourself drawn into the plight for individualism and free-spiritedness
undertaken by the title character, even if in the bigger scheme of things it’s
childlike. Waad Mohammed may have only starred in this film, but has enormous
potential if she demonstrates such skill as a child, and I fear that it may
never be realised. How this country has retained such extreme theocratic
control over its people and how it may change in the globalising world is a
lingering question in my head, but not so compelling as its final message.
Society might not approve of free spirits and critical thinkers, but we should
do strive to be everything we want to be.
26. Sinister
(2012) – 8/10
A crime novelist moves his family into a house where the
events of his new book took place, and discovers a supernatural quality in the
story when he finds a box full of super 8 films. “Sinister” sometimes recycles
genre clichés from haunted house and murder investigation movies, but despite
this unfortunate fact it proves itself to be one of the stronger horror
releases in recent years through great twists and turns and a satisfying climax.
Ethan Hawke’s performance as Ellison provides an unusual dramatic quality for a
horror movie, emphasising conflicts between selfish career aspirations and
family commitment as well as delivering a relatable response to the paranormal
occurrences. A fantastic visual style exploiting artificial shadows and
degraded image quality of cheap film reels compliments both atmosphere and
developments in story. Unfortunately, it sometimes reveals too much too soon
through its blatant showing of evil spirits, which diminish both the audience’s
absorption of information through more clever means and also draw attention to
more generic qualities we’ve seen countless times prior.
27. The Polar
Express (2004) – 6/10
A boy struggling to find a reason to believe in Santa
Claus is taken to the North Pole on a magical train to learn of the spirit of
Christmas. “The Polar Express” clearly has great ambition in becoming a modern
Christmas classic, but due to shortcomings in plot ends up being an
underwhelming addition to the filmography of gifted director Robert Zemeckis.
Stylistically speaking, it’s certainly in the right place. The visuals, though
noticeably outdated, hold up reasonably well in 2015 thanks to the stunning power
of motion capture, a great use of colour, sharp attention to details in
environment and slick camera movement. This, in combination with musical
choices offers a picturesque depiction of the world of Christmas. In script is
where it falters. The main character (left unnamed) is totally lifeless and
devoid of any real development, and instead of focusing on this glaring issue
the film is far more interested in throwing him and those around him into crazy
situations for cheap thrills. The end result is something that gets the look
and sound of December, but never wants to settle down and savour the flavours
of the season.
28. Gunga Din
(1939) – 7.5/10
Three British soldiers and a local water bearer in 19th
century India stumble upon a conspiracy to revive the Thuggee cult and engage
them to prevent their spread across the land. “Gunga Din” is a fine pre-WWII
adventure film, but sadly it seems its greater influence on the history of film
since is far more widespread than it’s given credit for. The inspiration it had
on George Lucas with Star Wars and Indiana Jones is staggeringly evident. As
much as I have to insist that its action is outdated, and watching these scenes
in 2015 feels much less like a thrill-ride and more of a hindrance to the
otherwise comfortably rapid progression of plot, where it succeeds is on other
grounds. The four leads are a motley bunch that foster a conditional
friendship, but also are the focus of great humour and the spirit of their
nation’s cause (as imperialistic as that may be). Great performances by Cary
Grant and Sam Jaffe especially assist engagement. While modern filmmakers might
find their inspiration from later releases, the role played by a film like
“Gunga Din” shouldn’t be overlooked by film enthusiasts.
29. Mission:
Impossible (1996) – 7/10
The lone survivor of a mission gone wrong is branded a
traitor to the organisation he works for and has to amass all his abilities to
clear his name and find the real perpetrator. The first film based on the hit
TV series (1966-1973) oddly enough pales in comparison to the far more exciting
2011 sequel (the only instalment I had seen previously). Still, it provides the
right amount of thrills and plot twist to counter its huge implausibility that
you’re subjected to from time to time. Tom Cruise offers a charged performance
as Ethan Hunt, and establishes himself in one of the roles that would come to
be one of the most remembered of his career. A lack of deeper character drama
in between excessive action lead to me having feelings over the supporting
cast’s (Jean Reno and Jon Voight) talents being wasted. Occasionally the plot
becomes very convoluted and I do feel it would benefit to slow down and clarify
itself once in a while. Despite a huge emphasis on excitement being a little
too much at times, brilliant director De Palma sometimes delivers incredible
sequences of suspense (a heist scene around the halfway mark exemplifies this).
I was a bit unimpressed considering how much I love “Ghost Protocol,” but I do
have positive hopes for the rest of the series.
30. Picnic at
Hanging Rock (1975) – 8/10
Set in the Australian colony Victoria in 1900, three
young ladies and a teacher from an all-girls school vanish without a trace
during a field trip to Hanging Rock, leaving the townspeople bewildered and
desperate for answers. “Picnic at Hanging Rock” is the arguably the film that
put director Peter Weir on the map as a major cinematic force to be reckoned
with. Aside from beginning a fruitful career, “Picnic at Hanging Rock” is among
the very best films made in Australia. While it does lack of undisputed
protagonist and this role is shared among multiple characters and at times it
can feel uneventful due to unclear relations between what’s happening to
multiple characters, it works on the most unusual levels. Similarly to one of
my favourite films, “The Deer Hunter” it’s far more a study of communities at
the turn of the 20th century, and how tragedy can shake them to the core.
Weir’s recreation of pre-Federation Australia depicts a nation only beginning
to make sense of itself as separate from the British Empire, but this is only
half as riveting as his intense use of foreboding and the inviting of the
audience to make up their own minds over what truly happened amid a non-conclusive
story.
31. The Mighty
Ducks (1992) – 8/10
Following a DUI charge, a selfish lawyer is forced into
coaching a kids hockey team as community service, and reacquaints himself with
the sporting aspirations he abandoned in his own youth. As a family-friendly
production by Disney, it’s only normal to jump to a few conclusions prior to
viewing. It’s coated in sentimentality, predictability and has a sense of
humour that might be somewhat too childlike. In the case of this movie however
I wouldn’t have it any other way. When one gets past those lesser great
qualities, what’s left is one fine feel-good movie. “The Mighty Ducks” is
characterised by an infectious enthusiasm towards comradery, sportsmanship and
the sweet taste of success. Emilio Estevez is sometimes at the mercy of the
material he’s working with, but his few moments where he shines reveal an actor
that is able to draw back on what we’ve seen in his ‘brat pack’ films, with
some new qualities that only come with maturity and experience. “The Mighty Ducks”
is shallow in dramatic depth, but the big smile left on my face after was well
earned.
My Top 10 Movies for December 2015
1. Star Wars: The Force Awakens
2. Nicholas and Alexandra
3. The Frighteners
4. Thirst
5. Red River
6. The Piano
7. The Monster Squad
8. Wadjda
9. Ghost
10. Lawless
Worst Film: Satellite in the Sky
Happy New Year, everyone!
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