With this said, there were actually quite a few positives to speak of this April. Myself and two of my friends have been gearing up with our planning for our New Zealand holiday in a few months time. We've outlined numerous locations from the Lord of the Rings trilogy to visit along with a planned 4 day skiing package. I've now lodged a passport application, so at least it feels like something real is being done about these trips.
Due to busyness from University and work, as well as some other responsibilities that couldn't really wait, I saw a total 17 movies. While I certainly would have cared to make it to at least 20, I was happy enough just to be free from any excess anxiety. I finally completed Season 5 of Game of Thrones and am looking to start a new TV season soon. Perhaps Buffy the Vampire Slayer Season 3? Here are the movies I saw and what I thought of them.
1. American Teen
(2008) – 7/10
A documentary following a group of teens from different
cliques during their senior year of high school. Despite having a scripting
that is occasionally botched by a sense of it being too forced and exaggerated
for dramatic purposes, ‘American Teen’ proves to be a decent high school
predominantly for its realist approach to one of life’s major times of change,
with its primary themes being on college applications, relationships and
finding comfort in oneself. There seems to be a realistic balance between the
idiotic melodramas that make up high school, as well as those more serious
qualities that make this tale of youth appear a lot more human. The film
understands what a teen clique is, but also communicates the point in the end
that young people are all more or less the same in many respects. There’s hopes
and dreams, and obstacles to achieving them. I favourite aspect of the film is
the overall empowerment of the teenager to be free-thinking in the conservative
Indiana environment. The claims that it’s ‘the new Breakfast Club’ are absurd,
but it is a decent documentary provided you’re willing to accept some degree of
fiction.
2. Infernal
Affairs (2002) – 8/10
A triad syndicate places a mole in the Hong Kong police
department, who have one of their own hiding amongst the criminals. The two men
search to uncover the other’s identity before they’re discovered themselves.
The film that inspired Martin Scorsese’s ‘The Departed’ is hardly an anomaly if
you’re familiar with Hong Kong crime cinema, but in saying that is a riveting
thriller that can be enjoyed independently of the success of its Hollywood. The
significantly shorter original has the benefit of a tight story arc free of
subplots, but in doing so is also able to focus more exclusively on its two
central characters, played by Andy Lau and Tony Leung Chiu-wai. The development
of these two men plays with your sympathies and leaves you questioning who your
allegiances really should be with. Being a die-hard fan of the Scorsese film,
what would have normally been a surprise unfortunately leaves less of an impact
than wished. ‘The Departed’ is certainly the better of the two movies in my
opinion, but ‘Infernal Affairs’ is a fine combination of shoot-‘em-up action
and a cat and mouse thriller.
3. Nanook of the
North (1922) – 8/10
A documentary following the lives of an Inuit family
living in the Arctic Circle. ‘Nanook of the North’ may very well be the most
important documentary in the history of cinema. Acting as a precursor, inventing
standards that would be built upon, but more than anything merging
entertainment with information. I was really impressed by how effective the
genre in its infancy in the silent film format. Robert J Flaherty’s film is a
fine example of film’s power of preserving history. Despite all the
industrialisation seen in North America in the 20th century, it’s
fascinating to see that this still hadn’t eroded the traditional lifestyle of
the Inuit people even by the early 1920s. The extent to which this is fabricated
by the director and his cast is a debate in and of itself. This aside, it’s an
interesting observation of the living habits of a nomadic family contending
with the harsh wilderness of the Arctic. It’s a film relic by all rights and
will remain a testament to documentary filmmaking for decades to come.
4. Open Range
(2003) – 9/10
Two cattle herders find themselves forced to take up arms
when they’re threatened by a kingpin rancher and corrupt lawman, and bring hope
to a small town in the process. I was taken by surprise how much I loved Kevin
Costner’s Western. It’s a great 21st century revival of a genre that
has passed its time in the limelight that takes a distinctively modern
Hollywood approach to the classics of the past. Its more aesthetic qualities
parallel the greatness of its character drama. The wonderful chemistry between
its two leads, Kevin Costner and Robert Duvall explores themes of redemption as
well as the sense of opportunity and establishing roots that came with the westward
expansion of America, at least as far the myth is concerned. The very
conditional heroism demonstrated by Charley and Boss establishes them as the
embodiment of justice in the lawless environment they exist in. The feeling of
authenticity made possible by director and star Costner’s sharp eye is in part
what really makes it for me. The natural scenery and constructed sets are works
of sheer beauty that bring this era back to life, and it’s complimented greatly
by its cinematography and touching score. While its romantic subplot might mark
‘Open Range’ as playing it safe and playing it by Hollywood rules, I personally
felt it added that one extra layer of emotional depth.
5. Spectre (2015)
– 8/10
After a suspension from MI6 for an unauthorised mission,
James Bond discovers a global criminal organisation with a connection to his
past, and a connection to political forces intruding into the British
intelligence organisation. ‘Spectre’ is hugely ambitious even by the standards
of a James Bond film, and likely will have a unique place in the history of the
franchise for its merger of styles between Craig’s rebooted era and entries of
from years back. Often it works very well, but occasionally has a very ho-hum,
out of place result. Daniel Craig shows no sign of weariness from his time in
the role, and if he chooses to continue he’ll only continue building his
stature as the great revision of the character. Notably, the film sees a
greater degree of contribution by its secondary characters. I was hugely impressed
by Christoph Waltz’s portrayal of Blofeld, who in his own way offers a dramatic
spin on the classic villain. Cleverly, the film makes use of the context of a
world where surveillance is becoming more commonplace as a means of making a
statement to its audience. In spite of the occasional moment of its
back-to-roots style not always working, ‘Spectre’ is a fine follow-up to the
outstanding ‘Skyfall.’
6. Creed (2015) –
8.5/10
Adonis Johnson, the son of the late Apollo Creed goes
under the wing of an ageing Rocky Balboa, and struggles to prove himself as a
fighter against the legacy of his father. The announcement of this production
had me greatly angered and I felt that this would be an insult to the great
series finale, ‘Rocky Balboa.’ I can’t even begin on how wrong I was. ‘Creed’
is a full-of-heart entry into the beloved Rocky series that simultaneously goes
back to the series’ roots while showing a few new tricks of its own making.
Admittedly, I was let down by its restrictive use of the original soundtracks
and a few alien editing decisions, but perhaps I should think possibly and view
it as the film’s own way of standing on its own. Its new protagonist, Adonis (played
by Michael B. Jordan) embodies the courageous and ambitious spirit that made
these movies so great while developing extensively in his own way. Upsetting as
it is not seeing him take the Academy Award for Best Supporting Actor home,
Sylvester Stallone once again shows why he understands Rocky Balboa more than
anybody in his performance of the legend in his twilight years. Often ‘Creed’
is distinct as an entry, and even more often its respectful of its dedicated
fan base. It warmed my heart to see a new Rocky movie, and be reminded of what
makes this franchise so great.
7. The Girl Who
Leapt Through Time (2006) – 8.5/10
A teenage girl finds herself with the ability to travel
into the near past, but finds her new power is making life worse for others.
The first major film by Studio Chizu’s Mamoru Hosoda is an exciting meeting of
science-fiction and the teen film in anime form. It takes a very realistic
approach to teenage melodrama in a way that allows it to be unique, inventive
and occasionally a bit reminiscent of some of the great time travel movies of
the past. Never pretending to write its adolescent characters as anything more
than they actually are, the film explores the nature of high school romance,
bullying and varying ways they relate to peers and parents in a way that’s
often touching, usually comedic and always feels very genuine. The time travel
aspect is handled cleverly in a way that drives the story of its own characters
before showcasing its seemingly endless possibilities. At times it feels as
though the film is always one step ahead of you in its frequent ‘leaping’ back
and changes to prior events. Hosoda’s first real work as his own boss is
remarkably beautiful and an ambitious first effort for Studio Chizu that offers
great entertainment.
8. The Masque of
the Red Death (1964) – 7/10
A Satanist prince takes refuge in his castle surrounded
by his court, while a deadly plague ravages the peasantry around him. This
adaption of the short story by Edgar Allan Poe is hard to describe in where it
fits genre-wise, but has the unmistakeable touch of a director like Roger Corman.
It often feels as though Poe’s story would have best been served as a short,
given the drawn out nature that only offers a few payoffs. While the writing
begs for better characterisation and exploration of its anti-religious themes,
the more physical acts of its production are worthy of commendation. The use of
colour is absolutely striking in its sets and costuming, and I feel that the
best example of this in its outdoor sequences that offer a classical spooky
quality. Vincent Price’s performance as Prospero will undoubtedly please fans
of the actor, for its haunting embodiment of the film’s satanic undertone. ‘The
Masque of the Red Death’ will likely be too arty for some viewers, and too
underwritten for others, but it has a few components of pure excellence that
make viewing worthwhile.
9. The Martian
(2015) – 8.5/10
After a tragic accident leaves an astronaut stranded on
Mars, he resorts to his ingenuity to survive on meagre supplies while NASA
plans for his rescue. Ridley Scott is a brilliant director, though judging by
some examples in his body of work, you might not always think so. Roughly
speaking, his best efforts are usually in science fiction and ‘The Martian’ is
but one example of where this creative genius really lies. It’s a film where its
character drama and world-building are made all the more compelling by a
feeling of realism. Matt Damon’s portrayal of Mark Watney is among the most
personal I’ve seen from the actor as far as linking up with the audience is
concerned. While we naturally relate to his desperate plight for survival, the
regular use of V-logs provides an additional dramatic dimension separate from
the film’s major events. I only wish its secondary character, namely those on
Earth, were given the same degree of humanity and not made to be a reliable
source of exposition. Scott’s creation of Mars impresses. It has this sense of
endlessness that compliments the drama of the film and is depicted in a way
that (at least appears to be) is scientifically accurate. ‘The Martian’ has a
gripping mixture of suspense and atmosphere with a compelling sense of hope to
contrast with its overall feeling of despair.
10. 7 Faces of Dr.
Lao (1964) – 8/10
An elderly Chinese gentleman rides into small Arizona
town with his circus of wonders and teaches the locals a series of valuable
lessons. My curiosity to this film comes from James Rolfe’s excellent favourite
movies videos on Cinemassacre, and I’m very glad I watched this sadly underrated
film. Its most distinctive trait being the number of distinctive performances
by star Tony Randall. Despite all the imagination surrounding these many
characters, the inevitable charm is in the eponymous Dr. Lao. While perhaps it
resorts to a Chinese stereotype quicker than it really should, he embodies the
film’s cynical attitude to the state of society in a way that’s both endearing
and humourous. The film’s mixture of styles and genres links up to everything
from Westerns, feel-good movies, monster movies, comedies and even some mystery
here and there. It’s a hard film to really discuss because of many seemingly
alien elements finding themselves in one place. Ultimately, the experience is
one that leaves you with a smile.
11. Cinderella
(2015) – 6/10
The sudden death of her father leaves young Ella at the
mercy of her cruel stepmother and stepsisters, but she finds hope after meeting
a young prince. The live-action remake of the animated classic benefits from
high production values and the Kenneth Branagh’s direction, but otherwise is
redundant before the opening credits roll. It’s not because it’s even a poorly
done remake, because it has its moments of inspiration. The real problem I have
is that it offers absolutely nothing new to this story and begs for a reason to
exist. Lily James’ performance in the titular role is earnest in its intent,
but feels overshadowed by the more carefully casted roles of Cate Blanchett and
Helena Bonham Carter. At times, it’s clear that Branagh’s ambition is huge and
it pays off in the form of wonderful sets, great costumes and excited visual
flair. However, the story ultimately feels too hollow for a grand live-action
take on the Cinderella tale and the inflatedness of the whole thing becomes all
the more apparent as time goes on.
12. One Million
Years B.C. (1964) – 6.5/10
A Prehistoric man is banished from his savage tribe, and
fights for survival until he finds himself living among another group and falls
for a pretty girl. The remake of a lesser known film from 1940 might at first
appear to be worthy of rejection for its deliberate historical and scientific
illiteracy, but I feel that doing so neglects the possible joys that come from this
schlocky Hammer film. ‘One Million Years B.C.’ never tries to be anything more
than a goofy and exploitative caveman tale. While I’d be very pressed to argue
it was a genuinely good film, but it does have a few evident qualities worthy
of praise. Its having next to no real dialogue challenges it to work with
images alone. Despite its emotional side being shallow, it succeeds in keeping
what story it has moving in a way that’s coherent. The sex appeal of Raquel
Welch will no doubt please fans of the exploitation film, but its real prowess
is in the practical effects by the master Ray Harryhausen.
13. Meet the
Feebles (1989) – 8/10
Set within a theatre troupe community, numerous starring
members of the show deal with adultery, drug addiction, exploitation and lost
hopes behind the scene. I can only describe Peter Jackson’s second feature film
as The Muppets if it was written by a homicidal maniac. Despite its commercial
failure, the cult following is quite deserved and it’s a film that few viewers
will forget anytime soon. I put this down largely to its clever use of puppetry
and animatronics as well as its fantastic utilisation of dark tones. A majority
of its characters are unlikable due to their depraved and selfish nature, but
in this case I think it lends itself to Jackson’s comedic intentions. His
humour isn’t afraid to take turns into the obscene and scandalous, but
problematically finds itself in the realms of being childish. The film is
lacking of a central premise and is made up mostly of different subplots each
focusing on one theme. Despite this, it all pays off in its finale and makes
this cheap film soar to unexpected heights.
14. Big Hero 6
(2014) – 8/10
A young science prodigy develops a bond with a robotic
nurse invented by his late brother, and forms a band of superheroes when he
discovers a conspiracy that links back to his sibling’s death. The Walt Disney
animated film inspired by the Marvel comic of the same name tends to fall into
the typical yet effective superhero formula, but merges that with the heart of
some of the company’s more recent CGI hits. I believe strongly that enjoying
just one of these kinds of film warrants a viewing of ‘Big Hero 6’ from you. Whatever
aspects of the film that might be considered unique I believe can be solely
attributed to style, particularly its Japanese cultural inspiration, and its
intentionally goofy, non-age specific humour. While its secondary characters,
namely its villain feel more like cogs for a bigger storytelling goal, the
film’s emotional core is given a close focus. The relationship between Hiro and
Baymax is an engaging tale of loss and how to deal with it through renewed
hope.
15. The Curse of
Frankenstein (1957) – 8.5/10
Victor Frankenstein inherits his family’s fortune and
puts it to use through scientific discovery. When he sets out to reanimate a
corpse, his tutor aims to prevent it for the good of those around him. The
first of the ‘Hammer Horror’ films is a distinctive and ahead-of-its-time take
on the story of Dr Frankenstein and his monster. Despite the more famed 1931
film’s historical and cultural significance, I would argue that the Hammer
version is far more realised as a horror film. I attribute this in equal parts
to its disturbing, gothic quality and its focus on Victor as the ‘real’
villain. Peter Cushing’s portrayal of the doctor is made by a believable
descent into obsession and insanity, but still feels very human when juxtaposed
with the more rational nature of Urquhart’s Paul Krempe. The creation of the
monster in the form of Christopher Lee is grim and highly unsettling, but takes
a backseat to director Terence Fisher’s effective fixation on set design to
complement its dark mood. I found this version of Frankenstein to be more
horrifying, more visual-oriented and far more character driven than its more
famous 1931 counterpart.
16. World Without
End (1956) – 6/10
A team of astronauts caught in a time warp find
themselves in a post-apocalyptic Earth populated mostly by mutants, whilst the
small remainder of the civilized human race lives underground. Enjoying ‘World
Without End’ is dependent on your mindset. It has similar ambitions to
countless other sci-fi films of the time, but lacks the writing or budgetary
means to achieve those goals, and in the end turns out to be laughably
corny. It has a great B-movie value in
its hilariously goofy depiction of a mutant caveman, and the expectation that
any of these constructed sets were to be believed by anyone. Despite
unintentional hilarity, it has some seeds of greatness that unfortunately never
grow to fruit. A talented cast is sadly given too little to work with, and its
ideas of a paranoid civilisation of the future are fascinating enough to keep
your interest.
17. Akira (1988) –
8/10
Set in a future reconstruction of Tokyo where the
government contends with a revolutionary movement, a young biker finds himself
transformed into a telekinetic psychopath after he’s subjected to a secret
military program. The landmark anime film didn’t quite engage me to the extent
I was initially led to believe, but nonetheless I give it praise for its dark
tone and inventive science fiction world. One critic noted that it’s like a
‘blend of 2001, The Warriors, Blade Runner and Forbidden Planet’ and I completely
understand. It doesn’t really feel like anything else exactly, yet several
aspects of it are so familiar in other genre examples. The atmosphere is
devilishly dark, and the audience is never really left feeling at ease with
anything that’s going on. To complement this, its delving into bloody violence
and psychological trauma act as unexpected surprises when they’re first seen,
as well as crucial to the film’s overall dark tone. My only real criticism is
that the film feels much too pounding at times, with its flashy, fast-paced
animation and a rapidly fast pace that doesn’t make room for engaging in both
story and character simultaneously.
My Top 10 Films for April 2016
1. Open Range
2. Creed
3. The Girl Who Leapt Through Time
4. The Martian
5. The Curse of Frankenstein
6. Infernal Affairs
7. 7 Faces of Dr. Lao
8. Spectre
9. Big Hero 6
10. Meet the Feebles
Weakest Film: World Without End
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