Outside of this, I worked a few more hours than normal at my workplace given some roster changes to put a few more dollars away, and I also completed the first draft of my amateur horror film script. Sadly I don't expect to be able to make the film until college goes back into hiatus, but it's a step-forward if I'm gonna exclusively be positive about it.
Overall, this February I watched 26 movies. I really would have liked to have seen a couple more to level it with the days in the month, but sometimes life responsibilities have a habit of interfering more than you'd wish. I got a nice range in, including some animated movies, foreign films, teen comedies, a few old Hollywood releases and I even made a trip to the local cinema.
1. The Maze Runner
(2014) – 8/10
A teenager wakes up in a basin community of several
others his age with no memory of how he got there, and becomes a crucial part
in its escape through the maze structure that surrounds it. Based on the young
adult novel of the same name, and despite fairly non-secretive over its playing
to the tune of the success of The Hunger Games trilogy, ‘The Maze Runner’ is a
fine action movie. At its worst, it’s almost totally driven by plot with little
input from its characters, excepting a select few, however there’s an
undeniable fascinating quality that resonates from this very fact. I loved the
mystery of the maze, the lack of any clear answers and my inclination towards
discovery was a huge driving force in my investment. Sadly, the youth of the
its cast of characters is reflected in their acting abilities, and development
of them as flesh-out people is quite limited to common traits expressed by
impulsive teenagers.
2. Easy Rider
(1969) – 8/10
Two hippie bikers embark on a road trip from LA to New
Orleans in search of acceptance of their alternative lifestyle somewhere in
America. ‘Easy Rider’ is a greatly idealistic film that wonderfully captures
the mood of the 1960s counterculture, and with many of its notions becoming
less relevant over successive decades it has become a little gem for us to
remember a time long gone. The dialogue is very carefully selected and
performed wonderfully by Peter Fonda, Dennis Hopper and Jack Nicholson. The
great trio express a variety of attitudes exclusive to the social conflicts of
the 60s that took part between the conservative norm and various
countercultural groups, particularly in regards to freedom, non-conformity,
casual drug use and new ideas about the Christian religion. There’s something
deeply disheartening about the film’s foresight over the future of social
rebellion, symbolically represented in its abrupt, but sad ending. A fine film
to say goodbye to the turbulent times of the 60s.
3. Superbad (2007)
– 8/10
Two inseparable geeks make find themselves in a series of
crazy situations trying to score alcohol for one of the last parties of high
school. It would seem that The Apatow Company manages to release comedic
brilliance even when Judd isn’t in a writing or directing role. ‘Superbad’
blends exactly that with one of my personal favourite kinds of film, the high
school movie. I might even go so far as to say it’s a generational successor to
‘American Pie.’ The humour is blunt, vulgar and gross, and totally unexpectedly
it succeeds in incorporating heart. I found myself relating to Seth and Even
(played by Jonah Hill and Michael Cera, who have brilliant comedic chemistry)
and their plight for social acceptance. The deepness of the friendship between
these two boys is hilariously exemplified through their constant struggle.
Simultaneously we learn of their immaturity, but it doesn’t seem to matter when
their growth finally reveals itself. The film’s encouragement of nerds to stick
together in the rough parts of high school life amid all this hilarity is
something I can really get behind.
4. Invasion U.S.A.
(1985) – 4/10
A Russian terrorist aims to cause panic and disarray
through a series of attacks on American soil, but comes face-to-face with a
heroic CIA agent who aims to foil his plans. ‘Invasion U.S.A.’ is an obvious
product of the latter part of the Cold War, but even viewing it in retrospect
it’s little more than just a dumb action movie. I won’t deny the fact that
there is some joy to be had in its over-the-top action sequences, and the small
amount of charisma demonstrated by Chuck Norris. Where it fails is in its
intentions, whether that be in character or impact on audience. The motivations
of its hero and villain are never elaborated on and they only seem to act (in
true form of their respective stereotypes) merely because the movie demands one
be good and the other evil. The ludicrous and unclear plot inhibits any real
message about the political situation in the world being elaborated upon. Chuck
Norris holding a gun is cool, but we deserve more.
5. The Public
Enemy (1931) – 8.5/10
A young hoodlum rises through the ranks of Chicago’s
criminal underworld, and begins to isolate himself from both his family and
colleagues as a result of his ambition and aggression. Sometimes you need an
enjoyable simplicity in a film, and ‘The Public Enemy’ is just that for the
gangster genre. The tale of Tom Powers is relatively straight-forward, but
manages to say a lot in its short run time. It is just as much an announcement
to the common man about the dangers of organised crime during the Prohibition
era, and sometimes feels one-sided on the issue. This being in its insistence
that sociopathic behaviour being exclusively a product of nature. More or less
putting James Cagney on the map, his portrayal of the classic movie gangster
reveals an innate talent at playing unsympathetic, but nevertheless compelling
characters. The film’s attitude towards crime, later to become a conventional
standard in genre filmmaking, is one that pits the gangster in an unwinnable
battle of morals and overall humane character against the rest of society. ‘The
Public Enemy’ isn’t as gritty as it once would have been, particularly due to
its datedness and humour, but it’s a significant picture that shouldn’t be
missed.
6. The Baader
Meinhof Complex (2008) – 7.5/10
The story of West Germany’s far-left militant group, the
Red Army Faction, which organised a series of attacks in the 1970s in response
to what they perceived as a modern form of fascism. There’s an impressive
degree of authenticity in ‘The Baader Meinhof Complex’ that only becomes more
and more worthy of appreciation when the subjectivity towards its own subject
matter is taken into consideration. There’s no point where the film demands you
take on a certain point of view and instead just depicts events as they occurred
in a logical, three-act structure. Was the RAF right in its ideology, but
misguided in its violent tactics? Does terrorism constitute a new form of
revolutionary warfare? While these questions certainly are a big part of the
experience of this movie, I do feel it’s so invested in the history to a point
where it forgets on the internal dilemmas of its leads. An uninterrupted focus
on the RAF’s operations give me a sense that the stories of its leaders are
reduced to that of pawns of something bigger.
7. Risky Business
(1983) – 8/10
A teenager entrusted with his parents’ home while they’re
away finds his situation falling out of control when he meets an adolescent
prostitute. One of the early Tom Cruise films is one of those memorable films
about what it means to grow up. The end of innocence and the misguided plunge
into the adult world is a recurring theme throughout, and personified by the
main character, Joel (played by a 21 year old Tom Cruise, showing his acting
chops at an early age). The synth-pop soundtrack and wardrobe choices
illustrate the unmistakable youth culture of the 1980s, whilst specific
character relationships comment on the era’s conservative divide between
different classes. ‘Risky Business’ occasionally comments on the annoyances of
taking on responsibilities, but does so in a way that is both fun and even
endearing.
8. The Killer
(1989) – 8/10
An assassin looking to start a new life and care for his
blind girlfriend finds withdrawing from the Triad world difficult due to police
pursuits and a double-crossing by his former employers. Fans of John Woo’s
other Hong Kong action films will inevitably enjoy ‘The Killer’ just as much. Its
themes, violence and narrative style is heavily consistent with both ‘Hard
Boiled’ and ‘A Better Tomorrow.’ Personally, it’s my least favourite of the
three, but a precious stone all the same. Despite the title suggesting
ruthlessness, the tale of moral integrity and repayment for past mistakes acts
as the major internal conflict in Chow Yun Fat’s character, Ah Jong. It’s much
less an individual choice to be a criminal and more the circumstances of one’s
own world that won’t allow otherwise. Undeniably however, the appeal of John
Woo’s action movies are in its bloody shootouts. ‘The Killer’ balances this riveting
action with its tale of love, commitment and redemption incredibly well.
9. East of Eden
(1955) – 7.5/10
A young man living in the Salinas Valley around the time
of WWI struggles to obtain the love of his father against his older brother,
reconnect with his estranged mother and start his own business venture. ‘East
of Eden’ marks the first time screen legend James Dean starred in a feature
film, and sadly, Elia Kazan’s piece would only be the first of three before the
star’s premature death. While I do feel at times the film is very jumpy with
its various subplots considered, what is very concrete is its regular use of
Biblical ideas linked in with timeless adolescent angst. Dean’s character, Cal
represents an incredibly specific dilemma with the age group. The lack of
connection with family in the face of growing into adulthood. Despite the early
20th century setting, it becomes progressively obvious of its
timelessness due to its attuned script and Kazan’s visual approach to depicting
unsteady emotions.
10. Police Story
(1985) – 8/10
A virtuous police officer finds himself the target of a
gang of Hong Kong drug traffickers after he arrests one of the syndicate’s
leaders and becomes the protector of a key witness. The first in the famed
‘Police Story’ series is a fine combination of the cop movie, comedy and a
martial arts piece. These three elements aren’t always levelled with one
another, but nevertheless offer their own distinct payoffs. The mix of gangland
affairs, legal procedures and romantic jokes all amount to a decent plot, but
there’s an undeniable fact that the appeal is all rooted in Jackie Chan (both
the director and central lead). Whether it be his aptitude of goofy humour,
physical abilities or his more general charm, there’s no denying that ‘Police
Story’ couldn’t exist as a film without his input. Like any martial arts film,
its real pleasures are in the stunts. It has its comfortable bursts of action
in between its key plot developments, but only in its final act does it really
shine in this respect.
11. The Blind Side
(2009) – 7.5/10
The story of Michael Oher’s adolescence, where he was
rescued from poverty by a kind woman and her family, and with their assistance
became an All American football player. Sports films have always been a great
joy to me, and it’s even more of a joy when they’re recognised for Oscar-worthy
greatness. ‘The Blind Side’ is a good movie, no doubt, but plays everything
incredibly safe and as far as I’m concerned has received unjust praise in many
respects. Sandra Bullock offers a far more emotionally charged performance than
usual, and Quinton Aaron’s portrayal of Oher is heartfelt. Regrettably though, ‘The Blind Side’ is
drenched in over-sentimentality and regularly forces feelings of pity.
Occasional moments that leaves you baffled and full of questions suggest a need
for some script revisions, but overall it seems the film has its intentions all
in a good place. Oscar material though? That’s astonishingly generous.
12. The Invisible
Man (1933) – 8/10
After discovering a substance that makes him invisible, a
brilliant scientist is driven to insanity and turns on those closest to him.
Among the earlier examples of Universal’s classic monster movies, and based on
H.G. Wells’ 1897 novel, ‘The Invisible Man’ may not level ‘Dracula’ or
‘Frankenstein’ in terms of either its terror, profoundness in ideas or
long-term influence, but it does make for a good old-fashioned horror film.
Running at a very short length, the film dedicates every moment towards a
gradual unveiling of its mystery, and the moments of suspense that come as a
part of that. While at times it can be over-the-top, this unintentional comedic
side is paralleled by more deliberate humour making use of its unique premise.
Claude Rains’ portrayal of the title character is menacing, though lacking in
an obvious tragic quality. The visual effects are ground-breaking for the time
and alone make seeing it worthwhile.
13. Three Kings
(1999) – 8/10
After the end of the Gulf War, three American soldiers
set out to collect the gold that Iraq stole from Kuwait and find themselves
involved in a rebel uprising. ‘Three Kings’ is an intelligent action comedy
that carries with it an attitude towards the world exclusive to the early
post-Cold War era, the 1990s. Watching it in 2016, with the more recent US
involvement in Iraq now its own history, there’s a retrospection that comes
with the experience. David O. Russell (known for recent successes like ‘The
Fighter’ and ‘Silver Linings Playbook’) uses a fitting range of directorial
moves to emphasize his tale’s humour, action and drama all at once. The often
confronting and occasionally satirical performances under a cast led by George
Clooney, Ice Cube and Mark Wahlberg are subject to calculated dialogue that
compliment both these qualities. The cinematography often pushes certain scenes
into a near-ugly appearance, creating a visual style that highlights the
disorientation of its characters and how messed up the entire situation was. ‘Three
Kings’ is critical of the USA’s involvement in the Middle East in the early
90s, but even more so of Saddam Hussein’s despotic rule.
14. Chitty Chitty
Bang Bang (1968) – 6/10
After he turns an old racecar into a flying vehicle, an
inventor and his children go on an adventure to a faraway land to rescue their
grandfather. ‘Chitty Chitty Bang Bang’ will likely always have an appeal to
those that grew up with it, but for those that didn’t such as myself, I don’t
think it has the qualities to really be considered a genre classic in the same
realm as ‘Singin’ in the Rain’ or ‘The Sound of Music.’ The film by its nature
is very child-friendly, and aims to celebrate wild fantasies that come with
being young. Dick Van Dyke and Sally Ann Howes are terrifically cast due to
both their singing abilities and overall enthusiasm onscreen. However, far too
long is the film without any real major conflict to drive interest, and given I
also didn’t care for its musical numbers I sometimes really struggled to enjoy
it on multiple levels. It’s very long for a film of this kind, and with only a
few really investing scenes I can only really say that I thought it was okay.
15. The Devil’s
Advocate (1997) – 8/10
A gifted Florida lawyer is offered a job in NYC with a
high-end firm, and following various successes in criminal cases begins to
notice something deeply sinister involving his wife and boss. ‘The Devil’s
Advocate’ is an interesting example of a film that shifts its principle focus
throughout, and ends up a totally different film by its end than what you began
with, and effectively so. The moral questions that come with being a lawyer in
the criminal body pervade throughout the film thematically, and prompt viewers
to draw their own conclusions. That said, this investing quality is paralleled
by supernatural thrills and the mutual paranoia experienced by both the
audience and characters. Keanu Reeves delivers a fine performance as Kevin
Lomax and represents the costs of human desire, whilst Charlize Theron’s
depiction of mental health in the role of Mary Ann is startlingly realistic and
progressively discomforting. I declare that Al Pacino steals the show as Milton
and alone would have done so in its confronting finale.
16. Batman &
Mr Freeze: SubZero (1998) – 7.5/10
In order to save his dying wife, Mr Freeze kidnaps
Barbara Gordon for an involuntary organ transplant, setting Batman and Robin
out to stop him. While not a direct follow-up to the brilliant ‘Mask of the
Phantasm’, this second film based on the cherished ‘Batman: The Animated
Series’ is very much in line as anything else that’s a part of the cherished
history of Batman. Released only a year after the abysmal ‘Batman & Robin’
it’s almost as though Warner Bros set out to redeem Mr Freeze and focus on the
real tragedy that his character is. The darkness is great, the animation is
great and one could never get enough of Conroy and Ansara’s voicing of the two
title characters. If there’s any issue I had with the film, I’d say that too
much of the story is dictated by secondary characters and much less on our
heroes, Batman and Robin. While not level with the prior feature based on the
series, ‘Batman & Mr Freeze: SubZero’ is a fine animated movie,
particularly for a straight-to-video release.
17. Wolf Children
(2012) – 8.5/10
After the death of her werewolf husband, a woman
relocates to the rural countryside to face the difficult task of raising her
two half-wolf children in secrecy. ‘Wolf Children’ is the first feature by Studio
Chizu’s Mamoru Hosoda I’ve seen, and I was greatly impressed by both its
writing and production quality. On the surface it might appear as a generic
anime focusing on growing up with a slight fantasy twist, but the extent of the
heart involved in its tale is nothing short of exceptional. Touching on
feelings of loss and identity, the film subtly makes comments about specific
life experiences in a fairytale-esque manner. Including, but not limited to
falling in love, developing a sense of who you are, finding life’s purpose and
raising kids. The artwork is nothing short of outstanding. Almost every
individual frame is created to such meticulous detail that you want to frame
it. The combination of this wonderful animation, a sombre score and a careful limitation
on how much dialogue is used makes for an anime feature that’s appreciative on
multiple levels. These being aesthetics, relationships and the ambience of the
varied setting.
18. Labyrinth
(1986) – 8.5/10
A selfish teenage girl finds herself pulled into the
fantasy world of the labyrinth after her baby brother is snatched away by the
Goblin King, as a result of her own wishes. I doubt there’ll ever be a time
where ‘Labyrinth’ isn’t a genre favourite, if not remembered as one of the
all-time great film performances of the late David Bowie. At its core, it’s an
imaginative piece that communicates the importance of responsibility and
friendship. The puppetry of its mystical creatures is a testament of practical
effects, no doubt made possible by Muppets creator Jim Henson’s place in the
director’s chair. To compliment that, the sets are astonishing to look at.
Without looking too cheap, they have that quality that really spurs your
curiosity towards every aspect of their creation, but above all they establish
the labyrinth almost as a character itself. Jennifer Connelly delivers a fine
performance as the lead, but it goes without saying that the real star power
comes from David Bowie, whose role as Jareth the Goblin King deserves just as
much a part in the history of Bowie as any of his personas taken on as part of
career in rock music.
19. Saving Mr.
Banks (2013) – 8/10
While Walt Disney seeks out the film rights to P.L.
Travers’ Mary Poppins books, the author reflects on her troubled childhood and
struggles to accept their differences in vision. For whatever reason I was
actually expecting sort of a generic drama with far too much sentimentality.
This is true to an extent, but ‘Saving Mr. Banks’ is just as much a passionate
piece that discusses the influence of an artist’s experiences on their work and
the attachments that come with that. What struck me most about the film is Tom
Hanks’ fantastic portrayal of Walt Disney, acting as an extension to the image
of the man we’re all familiar with in terms of commitment and passion in
projects. This same passion makes for the focus on P.L. Travers, the real focus
of this story. Emma Thompson’s performance initially depicts her as bossy and
strict, only to lead to your sympathies in unexpected ways. As much as I can
empathise with the film’s frequent depiction of the struggles that come with
creativity and appeasing all groups, I honestly feel the most heart-wrenching
scenes are in its flashbacks that depict Travers’ childhood family dramas that
inspired her books.
20. Deathgasm
(2015) – 6.5/10
A pair of metalhead teenagers unknowingly unleash a
demonic force on their small town after reciting dark magic in the form of
their music. ‘Deathgasm’ basically lives up to its promise in being a little New
Zealand horror-comedy with a heavy metal edge, but in doing so doesn’t achieve
all that much. It’s a fun movie at best, and immature at its worst. There’s an
undeniable enthusiasm that comes from its playing on the subculture embraced so
dearly by its main characters. They knowingly mock the stereotype, but break it
down at the same time. Getting past that, I don’t think there’s really all that
much in ‘Deathgasm’ that helps it stand out. The humour is constantly in your
face, rushed with little respect to comedic timing and is sometimes so juvenile
that I feel that it caters too directly to the same age-group as its
characters. The gore levels that of a great grindhouse movie, and while it
parallels the comedy in its abruptness, it’s enjoyable in spite of being
somewhat gratuitous.
21. Hang ‘Em High
(1968) – 7/10
After a failed lynching, a man becomes a federal marshal
to prosecute the vigilantes that almost killed him. ‘Hang ‘Em High’ is the
first American western starring Clint Eastwood after his success in Leone’s
Dollar’s trilogy. By no means one of the best genre examples ever, but full of
enough thrills and thematic qualities to make for a compelling frontier tale.
Jed Cooper, played by Eastwood, is hardly distinct from your usual western
protagonist, but is soundly written in the form of a personification of the film’s
themes and moral questions. Does the application of law in the setting of a
courtroom constitute real justice? And is a wronged man taking the law into his
own hands that unreasonably in the context of pre-statehood Oklahoma? The film
is more for moments than something that flows with total comfort. A
particularly glum third act and intense hanging scenes represent the highs and
lows of the whole show. While I won’t name it one of my favourite westerns, it
has an important place in terms of the genre’s revision and its star’s career.
22. BMX Bandits
(1983) – 7.5/10
Three teenagers with a passion for BMX bikes find
themselves pursued by a gang of bank robbers after they start selling a package
of walkie-talkies they discovered. ‘BMX Bandits’ was once called by a critic
‘Australia’s Own Goonies’ and while it certainly could never level with such an
unforgettable childhood classic, this does perform moderately well in its own
rights. Considering that most of it was filmed very close to where I live, it
added a special kind of investment for me. Arguably one of the major selling
points now are a 16 year old Nicole Kidman, who despite her age and limited
experience, demonstrates her talents as purely natural. It never really takes
itself seriously by its cartoony villains and goofy comedy. An apparent low
budget result in confined action opportunities, which fortunately pay off in
the form of its constant biking stunts. ‘BMX Bandits’ is nothing amazing, and
may not ever reach the status of a real cult film, but there’s a certain appeal
in everything its comprised of that’s hard to replicate.
23. Deadpool
(2016) – 8/10
After an experiment leaves him with extraordinary healing
powers and his life in ruins, a former Special Forces operative adopts the
persona, Deadpool to seek out revenge. ‘Deadpool’ is causing ripples among both
superhero movie enthusiasts and the general public alike, and in many ways is
deserving of that for some unconventional storytelling choices and its
self-awareness. In that respect though, I do believe it still plays things
quite safely for an R rating and doesn’t aspire to break away from genre norms
as much as I personally would have liked. It strikes a fantastic balance
between a serious, but highly unusual superhero tale and a near-spoof of common
clichés. Ryan Reynolds is wonderfully cast in the title role, taking on the
character’s psychological trauma and tongue-in-cheek sense of humour like a
tasty cocktail. The selling point really arises from its regular breaking of
the fourth wall, the source of many jokes and a suitable way of gaining insight
into this character, but I regard this as perhaps the most daring quality of
the film. Its content is certainly more adult than almost all superhero films,
but outside of this the mythos and story structure quite regularly come back to
the very films it’s making jokes out of, and it begs the question of how much
hype could live up to it. Enjoyable, sometimes addictively so, but not a
revolution in a very tired genre.
24. The Animatrix
(2003) – 7.5/10
An anthology of 9 animated short films taking place
within the Matrix universe depicting the initial conflict between man and
machine, and the creation of the Matrix. ‘The Animatrix’ occupies a special
place within the beloved sci-fi series, being both a stylistic and
chronological anomaly. What’s so special is that it can be regarded as both a
feature length film experience, but also a makeup of parts that should all be
judged according to their own merits. In this respect, the film sometimes feels
uneven and some shorts are naturally superior to others, and they don’t
necessarily appear in ascending order of enjoyability. I love the mixed
animation palette. Ranging from CGI, to artful 2D drawings, it lends itself to
numerous opportunities to impress on a visual level. The thematic elements
consistent with the film trilogy and a mixture of genre moves techniques are
very apparent, with some shorts feeling like a dramatic action sequence, whilst
others employ more subtle elements of mystery. My personal favourite of the
shorts is the 8th, ‘A Detective Story’ for its film noir premise and
imagery, and the inclusion of the character Trinity.
25. Memories of
Murder (2003) – 8.5/10
In a farming province in 1986 South Korea, the
investigation into a series of murders is led by two committed, but inept
detectives whose brutal methods bring about poor results and troubles in their personal
lives. ‘Memories of Murder’ may very well be the best crime film in South
Korean history, making specific comments about the investigation of the
Hwaseong serial murders and the necessity for a high standard of policing in a
time and place that lacked it. It only seems fitting given the directing and
writing prowess of Joon Ho Bong. I can’t help but praise the film for its bleak
visual style, sombre musical selection and its dazzling use of weather to
achieve numerous storytelling goals simultaneously. At their best, these
choices in technique reflect the inner turmoil of its two main characters, Park
and Seo. While their means of working are laughable at best and detestable at
worst, there’s a great humanity to both of these characters. We’re simultaneously
aware of the pressures bestowed on them, and the lack of professionalism that’s
a detriment to their goals. In a way, it works towards satire. With all its
dark images and gruesome depictions of crime scenes, ‘Memories of Murder’ is as
much a dark comedy as it is a mystery and benefits greatly from subtlety.
26. Thank You For
Smoking (2005) – 8/10
The spokesman for Big Tobacco battles criticisms from
lobby groups and the government whilst he tries to remain a positive role model
for his son. The feature-length film debut by Jason Reitman is a walloping
example of a director’s first time taking on such a project. ‘Thank You For
Smoking’ is almost dangerous in its ambition and works out to be a very
heartfelt satire of the corporate tobacco industry and the self-righteousness
of any group struggling to get its way. While one would expect a preachy
anti-cigarette smoking tone, it surprisingly turns out very differently and
instead pokes fun at the obvious. Aaron Ekchart’s performance as Nick Naylor is
surprisingly heartfelt and only equalled in this respect by its tongue-in-cheek
nature. The style is grabbing on many levels, the humour mixes subtlety and
political-incorrectness to great effect and its overall an engaging tale of the
kind of man our society labels the bad guy.
My Top 10 Movies for February 2016
1. Wolf Children
2. Labyrinth
3. Memories of Murder
4. The Public Enemy
5. Superbad
6. The Killer
7. Saving Mr. Banks
8. The Devil's Advocate
9. Thank You For Smoking
10. Deadpool
Worst film: Invasion U.S.A.
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