Now on to movies. This January, I did take a small break in my viewing because of some absolutely horrific weather. I only have one real viewing space available to me, and it doesn't have any kind of temperature control. I've always been one to create the most ideal setting when watching movies, and frankly I just didn't think that watching movies through a heat wave would be very comfortable. All up, I saw 24 movies!
1. Dogville (2003)
– 8/10
A woman on the run from the mob takes refuge in a tiny
Colorado town, and finds that her staying there comes at a heavy price. Lars
von Trier (Dancer in the Dark, Melancholia) has proven many times that he’s one
of the most unique filmmakers working today. His enthusiasm towards unorthodox
writing/direction is shown through “Dogville,” a film that casual viewers will
likely find too bizarre, but one that I think most cinephiles won’t be able to
resist eating up. The choice to use a minimalist stage as opposed to a
realistic set offers several opportunities that can only really work in the
context of this story. The level of isolation audiences feel is positively
asphyxiating and creates an ascending sense of dread even when all is calm. I
can’t help but feel that the artificiality of everything is symbolic of the
townspeople. The complicated moral fibre of humanity is regularly brought to
question through Grace’s experiences (she is played brilliantly by Nicole
Kidman, in a performance that’s not always easy to make up your mind over).
Whether you want to appreciate a more theatre-like approach to cinema or the
social issues raised, I recommend you view “Dogville” for both. Quentin
Tarantino stated that this would have won a Pulitzer Prize if this was written
for the stage, and I agree wholeheartedly.
2. Lucas (1986) –
7.5/10
A socially awkward 14 year old finds himself in his first
adolescent dilemma when the new girl in town and the jock who acts as his older
brother figure fall in love. “Lucas” might suffer from a very generic premise,
but has many heartfelt qualities that add to its endearment for certain members
of the audience. I can’t help but feel that the title character played by Corey
Haim is intended to be more of a representation of a certain kind of teenager,
as opposed to a more concrete character. His misguidedness and immaturity
towards love is something I found hauntingly reminiscent of my own school
experience. It was both an uncomfortable looking back at the past, as well as
an indication to appreciate how much I’ve changed as a person. Through the
inclusion of strong support by Charlie Sheen and Kerri Green, the film looks to
make break down all the possible reasons for the formation of school cliques,
namely the jocks and the geeks, offering a humourful approach in the process.
3. Big Bad Wolves
(2013) – 8.5/10
A series of gruesome child murders threaten the stability
of the lives of three men: The father of the latest victim, the prime suspect
and a renegade policeman operating on the fringes of legality. The Israeli
thriller-comedy praised as one of the best films of 2013 is as equally
engrossing as it is objectionable. Whether or not you want to view it as a
totally serious crime film or a deviant dark comedy is up to you, but what
can’t be denied is how much it dares to venture into the darker side of human
nature. The three leads; Grad, Ashkenazi and Keinan perform admirably and their
respective characters undergo substantial change as a result of one another’s
actions. The persistent question of Dror’s (Keinan) guilt plays offers the
audience a fascinating opportunity in being forced to make their own choices on
who the real villain is, and where their sympathies should lie. The torture
scenes are shocking without being overly gratuitous, but occasional brief
intervals of push these already uncomfortable depictions of human rage into
utterly disturbing territory which culminates in a wonderful climax.
4. Pom Poko (1994)
– 7/10
A large community of magical shape-shifting raccoons
suffer the consequence of human development destroying their homes, and begin a
guerrilla war for their survival. “Pom Poko” is Studio Ghibli’s take on the
tired environmentalist tale of animals fighting for the preservation of the
forest. Like anything else the studio has released, it’s fiercely imaginative
and ambitious, but I think it loses itself in the maze of its own creation.
It’s basically too much of a good thing. The humour and inventiveness are both
wicked, depicting a world that is both familiar to us, but also very distant.
It tiptoes the line between family and adult-appeal quite regularly, and
sometimes even dangerously. As likable and cute as its racoon leads are,
there’s the issue of central characters. Simply put, there’s too many and the
focus on who dominates the story and what’s important beyond the racoons’
saving of their own homes is somewhat unclear. The animation is as breathtaking
as ever and like many other Ghibli movies the ending is emotionally crisp,
however I wouldn’t name it one of their best and found the much earlier “Nausicaä
of the Valley of the Wind” to be a far superior environmental flick.
5. Pale Rider
(1985) – 8/10
A small gold mining camp comes under the intimidation of
a corrupt landowner trying to force them out of their claims, but when a
mysterious preacher wanders into town he inspires the locals to stand up for
their homes and livelihoods. “Pale Rider” in ways feels like a dress rehearsal
for Eastwood’s later masterpiece “Unforgiven” but is surely going to be an
exceptionally compelling tale for Western enthusiasts. Clint Eastwood is tasked
with both directing and leading the cast of “Pale Rider” and succeeds in doing
both to little fault. By far what invests me the most is how you can look at
Eastwood’s character in the context of his larger career. The Preacher
comfortably sits on a middle-point between the Man with No Name from Leone’s
Dollars trilogy, and Unforgiven’s William Munny. He’s a fascinating character
with an evident backstory and worldview come from experience, but still a huge
enigma consistent with Western legends. The production values of the 1980s and
the strong screenplay collaborate on giving us an investing image of the
American West. One with a lawlessness and lack of civility battling against the
opportunism and faith that comes as a part of the ‘American way.’
6. The Lovely
Bones (2009) – 6.5/10
After a young girl is murdered, she watches over her
family from purgatory and tries to make sense of how she can bring her killer
to justice. Pieced together by director Peter Jackson and his writing team,
“The Lovely Bones” is an unusually underwhelming effort for the great
filmmaker. It feels very uncertain over the kind of movie it aspires to be, and
the experience of watching it is too disjointed and burdensome for one to
really appreciate its better elements. Saoirse Ronan’s performance as Susie is
well-intentioned in showcasing the 14 year old’s maturity that comes as joining
the afterlife, however the film all too regularly drives her, and other
characters into clunky melodrama. The use of CGI to depict a purgatory that’s
full of out-of-this-world imagery reinforces pre-existing conceptions on what a
world that might exist after life would be like. It’s creative, but it opens
plot holes and draws attention to some baffling creative choices. It’s as
though “The Lovely Bones” doesn’t know if it wants to be a thriller, a family
drama or an expression of spirituality and its part in the meaning of life.
7. Problem Child
(1990) – 6.5/10
A dangerously mischievous child is adopted by a couple
looking to be great parents who find themselves being pushed to their limits
when their new son proves impossible to handle. “Problem Child” has an unusual
place in the history of family comedies, sitting somewhere in the middle of
cult classic and reviled mess. This basically summarises my position on it. I
don’t think it’s a terrible film, nor do I think it’s very good. At its heart
is a tale of the unlikely bond between an aspiring, but unexperienced father
and a disillusioned child who can only express his bad feelings through
misbehaviour. As noble of a premise this might be, “Problem Child” loses too
much of its emotional qualities in its humour. While occasionally it induced
chuckles in me, it ranges from under-thought to plain juvenile and disgusting.
Resultantly, the young Junior changes from a mere one-joke premise to a largely
unsympathetic lead. However, there’s much joy to be gained from John Ritter and
Seinfeld’s own Michael Richards as a convicted felon.
8. Paradise Now (2005) – 7.5/10
Two Palestinian men are enlisted to carry out a suicide
attack on Tel Aviv, but find themselves in a dilemma when their operation is
botched. Though it isn’t always the easiest film to watch from a strictly
emotional point of view, “Paradise Now” might be among the best films in
regards to tackling world issues of today, the case in point being the
seemingly endless conflict between Israel and Palestine. Media manipulation tends
to paint the suicide bomber as a machine hell bent on destruction, but where
this film succeeds is its getting under the nails of the topic. There’s no
political leaning in favour of either side, but rather a very human approach to
the ideologies that influence these people. While the exploration of the
varying viewpoints through numerous characters might be too ambitious for a
film this short, the final impact is quite lasting and paints an image of the
Palestinian suicide bomber that you’ll never see in Western media. Your own
leanings on the issue certainly won’t matter as long as you allow the drama to
work its magic.
9. Iron Sky (2012)
– 7/10
The last remnants of the Nazi regime have been hiding on
the dark side of the moon since 1945, and prepare an invasion of the Earth
under their new leadership in 2018. This film’s premise isn’t anything short of
ludicrous, and it knows that. As much as it aims for comedic effect, I’m not
sure if I can excuse it for its more mediocre qualities. “Iron Sky” is goofy
fun, but not a comedy classic by any stretch. The budget is certainly modest,
but doesn’t account for the heights in production quality (best demonstrated
through laughable CGI) it aspires to, begging the question of whether it would
have benefitted from a micro-budget/Troma film style. Where it shines is in its
numerous pop culture jokes, constant mockery of Nazi stereotypes and its parody
of global politics in the 21st century.
10. Happy Birthday
to Me (1981) – 7.5/10
Virginia still contends with a set of tragic events that
happened to her in her youth, but finds the troubles resurfacing when her
circle of friends at her snobby private school fall victim to a killer. “Happy
Birthday to Me” might not have the cultural status of “Friday the 13th”
or “A Nightmare on Elm Street” but it deserves an honourable place in slasher
film history. It’s simply a much cleverer genre entry than some might give it credit
for (in comparison with similar movies, at least). Its kills are very tightly
numbered, but showcase a wonderful degree in creativity by the production team.
They’re deliciously unique and edited in a manner that’s almost jolting. At the
expense of speculation over its villain, an interesting level of insight into
the psyche of the main character dominates the second half of the film while
still maintaining enough surprises to be engaging.
11. The Witches
(1990) – 7/10
During a stay at a hotel with his grandmother, a small
boy discovers a convent of witches, who he must stop from fulfilling their evil
plans for England after he’s turned into a mouse. While certainly a delightful
family film, not having the experience of growing up with it as many others did
has meant my own experience watching it was somewhat less favourable than I
expected. Director Nicolas Roeg utilises a varied selection of lenses to great
effect, resulting in exaggerated humour and feelings of unease in an unusually
simultaneous effect. This effectively leads to a fine balance in content that
isn’t too tame for your usual family film, or too dark for younger audiences. I
was mostly put off by uninteresting protagonists, played by Jasen Fisher and
Mai Zetterling. Anjelica Huston delivers a comedically villainous performance
as the Grand High Witch, and is by far one of the Roald Dahl adaptation’s
highlights.
12. Throne of
Blood (1957) – 8/10
After encountering a prophetic spirit in the forest, an
ambitious general murders the lord he served under and usurps the throne.
“Throne of Blood” wonderfully demonstrates why Shakespeare’s works remain
prominent in the 21st century as well as Akira Kurosawa’s ability at
transferring the ideas explored in “Macbeth” to feudal Japan. Regardless of
this classic tragedy’s setting, the notion that absolute power corrupts and
bloody ambition erodes human civility will always retain relevance. Kurosawa’s
favourite, Toshirô Mifune delivers one of his more complex roles as Washizu.
The compelling transformation from honourable military leader to insane tyrant
might be all too familiar, but personifies the many themes of “Macbeth” and
showcases the extent of Mifune’s talent. Catalytic character relationships,
particularly the toxic marriage are fascinating, but take a second stage to
Kurosawa’s masterful use of visuals. Excellent lighting, suitable weather and
choices in the natural environment compliment the madness that put “Throne of
Blood” among Kurosawa’s best films.
13. Big Eyes
(2014) – 8/10
Painter Margaret Keane realises her dream when her
artwork is acclaimed, only to have it ruined by her manipulative, domineering
husband that takes credit for everything. It’s no secret that Tim Burton’s
filmography has been up and down for many years now, but there’s great joy in
being able to say he’s released another wonderful effort. It’s not a return to
the form of 90s Burton or suggestive of an ongoing success, but I am very
pleased nonetheless. The initial compelling spark of “Big Eyes” originates in
little spectres of the joy in creativity and the desire for recognition. This
remains a constant even when its story spirals into varied directions. The
relationship between the two leads is almost like a critical depiction of
gender roles of the time, but comes off as disturbing given its basis in a real
past. Amy Adams performs very well, but Christoph Waltz admittedly steals the
show, acting out the insecurities, deceitfulness and spontaneous aggression of
a truly sick individual. That is excusing some ludicrous over-the-top moments
in the final act.
14. Sky High (2005) – 5/10
The son of two famous superheroes struggles to make his
way through the life of a teenager dealing with both being new to high school and
discovering how to use his own powers. While some live action Disney films of
the 2000s have become genre classics, “Sky High” doesn’t cut it. It’s not that
there’s much overwhelmingly bad about it, but rather it’s just derivative to
the point of being little more than the same kid-friendly high school movie
we’ve seen dozens of times before on Nickelodeon, only with more effects. With
generic and uninteresting main characters, it waddles through high school
melodrama with very apparent (however quite positive) messages to younger
viewers. Personally I was far more drawn to the more comical elements, namely
the Saturday morning cartoon-style action movie underneath and the sadly wasted
talents of cult favourites, Kurt Russell and Bruce Campbell.
15. The Disorderly
Orderly (1964) – 7/10
After being kicked out of medical school, Jerome takes up
work as an orderly at a private rest home and unintentionally wreaks havoc for
both the staff and patients. A fine, but ultimately very basic comedy that’ll
no doubt appeal to Jerry Lewis fans. “The Disorderly Orderly” benefits greatly
from its over-the-top cartoonish humour, and the energy from its star
performer. While it doesn’t seem to have much of a plot, and what does build to
a more unified story could arguably be completed in half the run-time. That
said, its numerous gag scenes are always a pleasure, and remind us to never
expect too much from it, nor take it too seriously.
16. Good Night,
and Good Luck. (2005) – 8/10
At the risk of major personal expense, a broadcast team
at CBS begin a series of shows aimed at bringing down Senator McCarthy during
his spree of accusations. George Clooney’s second time in the director’s chair
working on a feature film is a visual pleasure, a look into one of the darker sides
of the 1950s and is ready to make a stance on the value of mass media. The
stunning use of black-and-white compliments the feelings of paranoia and
subversion that underpin the undertaking of its main character, all the while
being aesthetically pleasing in the process. The film regularly makes use of
actual footage from McCarthy’s investigations and subsequent public statements
in relation to perceived communist threats, adding a realism that really draws
one into the era. A stellar cast led by David Strathairn oddly enough is
secondary to its important message on media as a tool for spreading the truth
at a time when the lasting popularity of television was uncertain.
17. The Hateful
Eight (2015) – 9/10
Set in Wyoming in the dead of winter some years after the
civil war, two bounty hunters, a female captive and a man claiming to be the
new sheriff of a nearby town take refuge in a small cabin occupied by a group
of unsteady people. I say with a huge smile on my face that Quentin Tarantino
has hit the mark again with yet another great film bearing his unmistakable
creative signature. Admittedly I am very disappointed that I didn’t get the pleasure
of seeing it in 70mm, a format which only a few cinemas in Australia have the
privilege of, but nevertheless I was enthralled by this movie. You’re aware of
who’s behind the film by the distinct writing style and plentiful violence, but
at times “The Hateful Eight” really feels as though Quentin’s pushing himself to
the limit. Despite almost entirely taking place in a small cabin, the 3 hour
runtime cruises by. With the use of naturalistic sound and extended takes,
there’s an unquestioned level of tension permeating throughout and keeping the
audience on edge. The challenge of having so many characters leads to some
being favoured over others. As much as I loved Samuel L Jackson and Kurt
Russell spouting off Tarantino’s fast-paced dialogue, I’d have loved to have
seen bigger contributions from Bruce Dern and Michael Madsen. The big point I
feel I need to make is in the violence. The sadism of the violence in his films
reaches new heights and I really feel he’s surpassed ‘Reservoir Dogs’ in making
some scenes as riveting as they are uncomfortable.
18. Moneyball
(2011) – 8/10
The general manager of the Oakland A’s baseball team
risks professional disgrace by employing a new system of acquiring players
based on digital analysis. While the premise sounds like dangerous territory
for a sports movie, it’s anything but and establishes “Moneyball” as a unique
genre example. Rather than repeat the formula of other great baseball movies,
this film depicts the dangers of breaking away from managerial norms and
suggests the career-implications of those involved. The chemistry between
veteran actor Brad Pitt and rising star Jonah Hill is a real pleasure when you
consider the divides existing between the two. The over-ambitious rebel and the
reserved thinker. The shortage of actual games throughout the film implicates
an overall separation of this film from other sports film. While some
associated thrills are inevitably lacking, it’s usually made up through the
deepening of character in the form of the circle-of-being created by a
brilliant use of flashbacks.
19. The Faculty
(1998) – 7.5/10
A group of teens learn of an undercover alien takeover at
their school and start working together to fight against it. “The Faculty” is a
fine tribute to countless alien invasion movies, but also feels like the first
break away from real independent roots for the famed director. The merger
between a 90s teen movie, and great sci-fi of the past makes for a thrilling
combination, but comes at the expense of original content. There’s an
overwhelming feeling that it’s more of an episode of some larger tale of
extra-terrestrial invasion. A progressively deepening plot features a great use
of payoffs from previous setups, and the exploiting of numerous adolescent
insecurities seen among a varied cast featuring Elijah Wood, Jordana Brewster
and Josh Hartnett.
20. The Revenant
(2015) – 8/10
A frontiersman during the American Indian Wars is mauled
by a bear and left for dead by members of his own expeditionary team, and
battles against the harsh wilderness for justice and his own survival. Alejandro
G. Iñárritu’s follow-up to the phenomenal Best Picture winner “Birdman” is
hugely ambitious, stunningly shot, brutally raw and thematically rich. While at
its very nature, it is a mere story of survival and revenge, where it really
shines is in its attention to certain details. The cinematography by Lubezki is
deeply reminiscent of that aforementioned film, but accomplishes a totally
different goal, that being to encourage dreadful feelings of isolation, despair
and level your own anger with that of the main character, Glass (played by
Leonardo DiCaprio in yet another grand performance). Underlying themes taking
from both Christianity and Native American spirituality provoke consideration
over what’s an acceptable attitude towards revenge, but rarely take effect outside
of this. Its 150 minute length is often daunting, but I feel it generally works
to the effect of sympathising with the character and drawing the viewer into
the uncertainty of the situation.
21. Olympia (1938)
– 7.5/10
A two-part documentary of the Olympic Games that were
held in Berlin in 1936. Even without the Nazi component, Leni Riefenstahl
movies are always more for appreciation of cinematic technique rather than what
we normally enjoy movies for. Olympia’s two parts, ‘Festival of the Nations’
and ‘Festival of Beauty’ together make up arguably the most influential sports
film of all time. Furthermore, it’s a much greater joy to watch than the more
overt propaganda that makes up ‘Triumph of the Will.’ Olympia is a feast for
the eyes and ears, and the almost 4 hour runtime goes by a lot quicker than
you’d normally expect. Not being a fan
of sports at all, I was only moderately interested in the various competitions
and the countries that won them, but was occasionally fixed on Riefenstahl’s
revolutionary editing and cinematography emphasising the subjective beauty of
the human physical form (highlighted during Jesse Owens’ running feats and the
diving sequences towards the finale). Nazi propaganda or not, I think it’s Riefenstahl’s
most ambitious and honourable work.
22. Romancing the
Stone (1984) – 8/10
A timorous romance novelist makes her way to the jungles
of Colombia to answer to a ransom, and finds herself paired up with a wandering
dreamer in a chase for treasure. Robert Zemeckis’ last film before ‘Back to the
Future’ in ways is an Indiana Jones knock-off, but it’s a positive example of
that and one I embrace with open arms. An overt cartoonish quality allows the
script to comfortably tread the lines between the adventure movie and comedy.
Wisely matched up leads Kathleen Turner and Michael Douglas make for a decent
on-screen couple through both subtle romantic teasing and the all-too-familiar
hero and damsel-in-distress storytelling pattern. It feels like the quest at
hand triumphs over the individual motives of its characters, and with stronger
development in this area ‘Romancing the Stone’ might even level with its
sources of inspiration in a totally unexpected fashion.
23. Kingsman: The
Secret Service (2014) – 8/10
A secretive spy organisation recruits an ill-judged
street kid, who becomes a crucial part of its fight against a maniacal
technological innovator. ‘Kingsman: The Secret Service’ is a fine blend between
comedy and the spy film genres, and a great example of the latter’s adaption to
21st century culture. What’s immediately noticeable is that
unmistakable British charm in its writing, that’s complimented by the stylish
direction of Matthew Vaughn and a talented cast of familiar faces and newcomers
to the movie scene. There’s a perfect balance between its action and comedy,
preventing it from falling away from its intentions of suspending disbelief and
into the pit of spoof at the same time. One uncommon characteristic is what the
film tries to say about the changing state of Western civilisation (namely the
UK). The apparent left-wing attitude the film takes comments on both the threat
of climate change, and the social consequences of the growing smartphone craze.
24. Inherent Vice
(2014) – 7.5/10
After being approached by his ex-girlfriend to
investigate a plot against her billionaire lover, a stoner private detective
searches for answers amid a multitude of oddballs in 1970s Los Angeles.
‘Inherent Vice’ isn’t a film I want to make any conclusions about before seeing
it for a second time, because I’ve heard it begins to really show its potential
upon repeated viewings. In ways I was let down by Paul Thomas Anderson’s latest
film, but at the same very intrigued by it. The issue that’s turned off so many
viewers is a huge lack of coherence in its plot. With at least three major
subplots occurring simultaneously, everything is at question and its dramatic
reveals are probably revealed far too late to appease an audience that likely
was already frustrated by it. The familiar style of the auteur filmmaker is
just as engrossing as it ever has been, and perfectly illustrates a darker side
of the 1970s fuelled by drugs, corruption and moral decadence. This is greatly
personified by “Doc” Sportello (played by Joaquin Phoenix) who feels like a
film noir protagonist meeting The Dude from ‘The Big Lebowski.’ I think the
cold, hard truth is that this film is very well made, but its writing packs in
way too much to be absorbed in one viewing.
My Top 10 Movies for January 2016
1. The Hateful Eight
2. Big Bad Wolves
3. Pale Rider
4. Big Eyes
5. The Revenant
6. Dogville
7. Throne of Blood
8. Good Night, and Good Luck.
9. Kingsman: The Secret Service
10. Moneyball
No comments:
Post a Comment