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felicitykingKudos to you if you've been keeping up with my reviews, or have bothered to check them out. This has certainly been an unpredictable, exciting, and adventurous movie year for me. I haven't enjoyed watching movies this much since I went to the Sunday matinees at the Gish Theatre at my college. Anyway, I have reached 50 films but I have no plans to stop now when there are so many gems out there waiting to be viewed.
Newest to oldest as usual.
Driving Lessons. Rupert Grint can act! Nobody knows it though cuz he keeps choosing offbeat, character non-mainstream films. I did like this film, but everything about it started off obnoxious at first: the soundtrack is TOO distracting, Laura Linney's accent feels too forced, Julie Walters' brassy actress act is too over-the-top, and the film is too aware it is an indie. Except, it sneaks up on you. Everything settles in its place. It's a coming-of-age story about a awkward, uptight boy who works for a washed-up actress. It doesn't follow the template of usual growing up stories which is what makes the film so enjoyable. And, although the film is quirky, it's so character driven that it doesn't seem quirky-for-quirky's sake.
Bacheha-Ye Aseman (Children of Heaven) SOB SOB SOB!. This film is achingly beautiful, but it just breaks one's heart. It's like a fairy tale, but the note of realism in it keeps one from forgetting the harshness of life, of what is to be a child living in poverty. I do believe this is my first Iranian film. I quite enjoyed it. A little boy accidentally loses his sister's shoes, and it's about their struggles to make everything all right. Apparently, there is a remake called Homerun. I plan to watch it if I can find it. REC!
Kurutta Kajitsu (Crazed Fruit). There are certain films, which are classics, but are highly life-scarring and "never watching this again, need lots of fluff just to get over the trauma." For example, Last Tango in Paris. This is another one. Rich, directless, and bored teen brothers in post-WW 2, Westernized Japan fall for the same woman. A love triangle ensues as does tragedy. Apparently, this film was considered highly shocking at the time of its release and I would say it still is. Not for its sexuality or discontent (which was the main reason it was disliked in its original release), but for the brutality and misogyny of one its characters. The ending is predicable, but the way it is drawn out makes it very shocking and surprising. My jaw dropped even though I figured out what was going to happen. It's actually a bit like Cherrybomb, but more harrowing (because it's not angsty for angsty's sake).
Panic. Sob! If Wild Target had been a character drama, rather than zany, quirky comedy, this is what it would be. A hit man, seeking therapy, falls for a much younger woman while trying to find peace in his life. It had the potential to be sleazy or one of those "suburban discontent" dramas (think American Beauty), but the film never loses itself. It's very thoughtful and intelligent throughout. Although I predicted the ending, I wasn't prepared for the last 15 minutes post-prediction where the depth of the film really shines through. The acting, scenery porn, and music all contributed to making this a wonderful film. I rec!
Anna Karenina (1948). There's nothing wrong with this film, except I wasn't in the mood in to watch it. I'm glad I did, but it took forever to get through cuz I was in one of my weird film moods where I don't watch something even though I'm sure I'll enjoy it. There are several versions of AK, but this is the first I've seen. It was amazing. Vivien Leigh is flawless as the fierce, fragile, but ultimately tragic heroine. And, wow! The costumes (by Cecil Beaton) and sets were feasts for eyes. A beautiful film! I'm surprised it isn't better known!
Reservoir Dogs. I felt I should have liked this, but I just didn't. It wasn't a bad film by any means, but not one I felt moved in any way by. A robbery goes wrong--and the thieves try to figure out who the rat is. What I did appreciate about this film is that it isn't as stylized as Quentin Tarantino's films have become. It feels slightly more natural, more real world, not as cartoon-y, as some of his later day films have become. Steve Buscemi is a little scene-stealer though!
Swingers. From descriptions of this, I was expecting a modern day gamour Frat Pack movie. To my surprise, it wasn't. It's like Judd Apatow before Judd Apatow, except I feel this was less pretentious, more realistic. I couldn't completely embrace the movie due its very obvious sexism (the men relish being players), but I did enjoy the friendships and struggles of men trying to make in L.A. Also, I enjoyed seeing a side of Los Angeles that isn't often depicted on film: the average joe, regular hang-outs far from the glitter and glory of Hollywood. I also liked Mikey. Despite his clingy off-puttingness, he was enjoyable because he knew he was the awkward guy among a group of cool kids: and yet, they still loved him.
His Girl Friday. Another rewatch. I haven't seen this film in years though. It isn't as fast-paced as I remembered it as being, and the screwball aspect doesn't feel present until the last 20 minutes. I'm still impressed by Rosalind Russell as the BAMFiest newspaper woman alive: she runs, she reports, she banters, and tweaks all the men around her while wearing high heels and changing clothes. The depiction of the newspaper of being corrupt and concerned with local colour politics felt extremely timely too, given so many paper scandals these past few years. Still a classic, but not as OMFG awesome as I thought it was years ago.
Like Crazy. If a French Wave film had been directed by John Cassavetes, this is what it would look like. Strangely, it make an nice compliment and comparison to For Lovers Only, another film about lovers being torn apart by time and circumstance. I feel this film was more honest and unflinching though. It also took me awhile to figure out why I wasn't gaga in love with it: Anna. She's cold, clingy, and her insecurities give the film an uncomfortable rawness. (I loved her emotional awakening at the end though.) She's the counterpart to Jacob--as well as the other characters--who exude warmth and stability, even when it uncertain. As for the controversial ending, I liked it. I don't think a neat, wrapped up ending would have helped this film Given its docu-drama, and painfully real quality, the open-endedness of it made it feel more real. (I personally think they split in future time.)
The Night Watch. A BBC telemovie about sexuality and relationships during World War 2.This was intense! And so sad! At 90 minutes, it felt a bit rushed but it still was good overall. I don't want to go into detail about it for fear of spoilers, but wow! You need to see this. The cast is flawless: JJ Feild, Claire Foy, Anna Maxwell Martin, etc. It's not fluff, but it does reveal the often forgotten history of how the GLBT community was treated and how complicated gender relations were during the 1940s.
Hausu (House). If you like low-budget b-movie horror, you might like this. I didn't. It's like Rocky Horror Picture Show meets Little Shop of Horrors but even more random, odd, and completely bizarre. I'm not against weird movies. Wendy and her Week of Wonders is one of the strangest films I've ever seen, but the ~lack~ of computer effects is what made it work. I was constantly distracted by the editing and obvious computer effects on this one. I have no idea how to even begin to describe the plot. It's so one of a kind. I wouldn't have finished watching it but various reviews claimed the horror scenes were so amazing so I stuck with it until the end. Those scenes were a letdown however: more interesting than scary or even gross.
I Married a Witch. My introduction to Veronica Lake, and wow!, she is a wonder! I hated the film. It reminded me of Enchanted, and I loathe everything about that film (except the music). A witch puts a curse on the family that burned her, but later comes back and falls in love with one of his descendents. Things I do love about this film though: the costumes (I covet everything!), the sets, and the chemistry of the stars. But I did not like the plot. It has another oddity too: there's nothing about that screams "preserve this film for future generations" but it has the Criterion label on it.
Les yeux sans visage (Eyes Without a Face). I was persuaded to watch this French horror based on reviews, which repeatedly called it a poetic fairytale. Well, I thought it was more of a noir than a fairytale. It wasn't a bad film by any means, but I don't think it quite lives up to its reviewed reputation. The film is about a girl who gets into a car accident and how her father tries to replace her face. I thought the special effects were well-done for the time, but nothing to write home about. (But one wonders how gruesome it would if remade today.) Also, the main "horror" of the film is limited to a two-minute surgery scene. The ending was a letdown too. I guess it's worth a watch, but not the be-all, end-all. At any rate, it's another French film to add to my French cinema education this year. (At this point, I've seen so many, they don't even feel "foreign" anymore.)
Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped, or The Winds Bloweth Where It Listeth). Now I get all the fuss about Robert Bresson. This truly is a flawless film. It's like "The Shawshank Redemption," but true! Despite being a character study film--and the plot extremely straightforward (stripped down simply to the prisoner trying to escape), it still carries a depth to it: how we all must retain hope and faith, how blessings come to us in forms we don't expect, how defiance can keep us alive and deception (against those that would harm us) can enable us to be strong. It was very taut, suspenseful, and extremely well-paced. An excellent film! Hugely rec!
Seance on a Wet Afternoon. A "psychic" and her husband plot a kidnapping to earn money. A little known British thriller from 1964 starring Kim Stanley and Richard Attenborough. I wouldn't be surprised if this was a play first, because it uses minimal characters and largely takes place in a house. Despite that, it doesn't feel stagey. Stanley rocks as Myra, a controlling woman with one-screw-loose. Attenborough almost blends into the scenery he is so understated, but when he does finally let go, the result is worth it. An interesting movie.
Carnival of Souls. Movie 51! You are forgiven for "Princess from the Moon," Criterion. This cult classic B-movie is flawless. It's fucking creepy too! A woman survives a deadly car accident and starts seeing freaky souls. Even though it's very different in story, purpose, and special effects, I couldn't help thinking this makes an interesting /compare/contrast to "Psycho." Kudos especially to Candace Hilligoss, who perfects the art of the blank face while still managing to convey terror and confusion behind it. Definitely a top 10 movie.
Newest to oldest as usual.
Driving Lessons. Rupert Grint can act! Nobody knows it though cuz he keeps choosing offbeat, character non-mainstream films. I did like this film, but everything about it started off obnoxious at first: the soundtrack is TOO distracting, Laura Linney's accent feels too forced, Julie Walters' brassy actress act is too over-the-top, and the film is too aware it is an indie. Except, it sneaks up on you. Everything settles in its place. It's a coming-of-age story about a awkward, uptight boy who works for a washed-up actress. It doesn't follow the template of usual growing up stories which is what makes the film so enjoyable. And, although the film is quirky, it's so character driven that it doesn't seem quirky-for-quirky's sake.
Bacheha-Ye Aseman (Children of Heaven) SOB SOB SOB!. This film is achingly beautiful, but it just breaks one's heart. It's like a fairy tale, but the note of realism in it keeps one from forgetting the harshness of life, of what is to be a child living in poverty. I do believe this is my first Iranian film. I quite enjoyed it. A little boy accidentally loses his sister's shoes, and it's about their struggles to make everything all right. Apparently, there is a remake called Homerun. I plan to watch it if I can find it. REC!
Kurutta Kajitsu (Crazed Fruit). There are certain films, which are classics, but are highly life-scarring and "never watching this again, need lots of fluff just to get over the trauma." For example, Last Tango in Paris. This is another one. Rich, directless, and bored teen brothers in post-WW 2, Westernized Japan fall for the same woman. A love triangle ensues as does tragedy. Apparently, this film was considered highly shocking at the time of its release and I would say it still is. Not for its sexuality or discontent (which was the main reason it was disliked in its original release), but for the brutality and misogyny of one its characters. The ending is predicable, but the way it is drawn out makes it very shocking and surprising. My jaw dropped even though I figured out what was going to happen. It's actually a bit like Cherrybomb, but more harrowing (because it's not angsty for angsty's sake).
Panic. Sob! If Wild Target had been a character drama, rather than zany, quirky comedy, this is what it would be. A hit man, seeking therapy, falls for a much younger woman while trying to find peace in his life. It had the potential to be sleazy or one of those "suburban discontent" dramas (think American Beauty), but the film never loses itself. It's very thoughtful and intelligent throughout. Although I predicted the ending, I wasn't prepared for the last 15 minutes post-prediction where the depth of the film really shines through. The acting, scenery porn, and music all contributed to making this a wonderful film. I rec!
Anna Karenina (1948). There's nothing wrong with this film, except I wasn't in the mood in to watch it. I'm glad I did, but it took forever to get through cuz I was in one of my weird film moods where I don't watch something even though I'm sure I'll enjoy it. There are several versions of AK, but this is the first I've seen. It was amazing. Vivien Leigh is flawless as the fierce, fragile, but ultimately tragic heroine. And, wow! The costumes (by Cecil Beaton) and sets were feasts for eyes. A beautiful film! I'm surprised it isn't better known!
Reservoir Dogs. I felt I should have liked this, but I just didn't. It wasn't a bad film by any means, but not one I felt moved in any way by. A robbery goes wrong--and the thieves try to figure out who the rat is. What I did appreciate about this film is that it isn't as stylized as Quentin Tarantino's films have become. It feels slightly more natural, more real world, not as cartoon-y, as some of his later day films have become. Steve Buscemi is a little scene-stealer though!
Swingers. From descriptions of this, I was expecting a modern day gamour Frat Pack movie. To my surprise, it wasn't. It's like Judd Apatow before Judd Apatow, except I feel this was less pretentious, more realistic. I couldn't completely embrace the movie due its very obvious sexism (the men relish being players), but I did enjoy the friendships and struggles of men trying to make in L.A. Also, I enjoyed seeing a side of Los Angeles that isn't often depicted on film: the average joe, regular hang-outs far from the glitter and glory of Hollywood. I also liked Mikey. Despite his clingy off-puttingness, he was enjoyable because he knew he was the awkward guy among a group of cool kids: and yet, they still loved him.
His Girl Friday. Another rewatch. I haven't seen this film in years though. It isn't as fast-paced as I remembered it as being, and the screwball aspect doesn't feel present until the last 20 minutes. I'm still impressed by Rosalind Russell as the BAMFiest newspaper woman alive: she runs, she reports, she banters, and tweaks all the men around her while wearing high heels and changing clothes. The depiction of the newspaper of being corrupt and concerned with local colour politics felt extremely timely too, given so many paper scandals these past few years. Still a classic, but not as OMFG awesome as I thought it was years ago.
Like Crazy. If a French Wave film had been directed by John Cassavetes, this is what it would look like. Strangely, it make an nice compliment and comparison to For Lovers Only, another film about lovers being torn apart by time and circumstance. I feel this film was more honest and unflinching though. It also took me awhile to figure out why I wasn't gaga in love with it: Anna. She's cold, clingy, and her insecurities give the film an uncomfortable rawness. (I loved her emotional awakening at the end though.) She's the counterpart to Jacob--as well as the other characters--who exude warmth and stability, even when it uncertain. As for the controversial ending, I liked it. I don't think a neat, wrapped up ending would have helped this film Given its docu-drama, and painfully real quality, the open-endedness of it made it feel more real. (I personally think they split in future time.)
The Night Watch. A BBC telemovie about sexuality and relationships during World War 2.This was intense! And so sad! At 90 minutes, it felt a bit rushed but it still was good overall. I don't want to go into detail about it for fear of spoilers, but wow! You need to see this. The cast is flawless: JJ Feild, Claire Foy, Anna Maxwell Martin, etc. It's not fluff, but it does reveal the often forgotten history of how the GLBT community was treated and how complicated gender relations were during the 1940s.
Hausu (House). If you like low-budget b-movie horror, you might like this. I didn't. It's like Rocky Horror Picture Show meets Little Shop of Horrors but even more random, odd, and completely bizarre. I'm not against weird movies. Wendy and her Week of Wonders is one of the strangest films I've ever seen, but the ~lack~ of computer effects is what made it work. I was constantly distracted by the editing and obvious computer effects on this one. I have no idea how to even begin to describe the plot. It's so one of a kind. I wouldn't have finished watching it but various reviews claimed the horror scenes were so amazing so I stuck with it until the end. Those scenes were a letdown however: more interesting than scary or even gross.
I Married a Witch. My introduction to Veronica Lake, and wow!, she is a wonder! I hated the film. It reminded me of Enchanted, and I loathe everything about that film (except the music). A witch puts a curse on the family that burned her, but later comes back and falls in love with one of his descendents. Things I do love about this film though: the costumes (I covet everything!), the sets, and the chemistry of the stars. But I did not like the plot. It has another oddity too: there's nothing about that screams "preserve this film for future generations" but it has the Criterion label on it.
Les yeux sans visage (Eyes Without a Face). I was persuaded to watch this French horror based on reviews, which repeatedly called it a poetic fairytale. Well, I thought it was more of a noir than a fairytale. It wasn't a bad film by any means, but I don't think it quite lives up to its reviewed reputation. The film is about a girl who gets into a car accident and how her father tries to replace her face. I thought the special effects were well-done for the time, but nothing to write home about. (But one wonders how gruesome it would if remade today.) Also, the main "horror" of the film is limited to a two-minute surgery scene. The ending was a letdown too. I guess it's worth a watch, but not the be-all, end-all. At any rate, it's another French film to add to my French cinema education this year. (At this point, I've seen so many, they don't even feel "foreign" anymore.)
Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped, or The Winds Bloweth Where It Listeth). Now I get all the fuss about Robert Bresson. This truly is a flawless film. It's like "The Shawshank Redemption," but true! Despite being a character study film--and the plot extremely straightforward (stripped down simply to the prisoner trying to escape), it still carries a depth to it: how we all must retain hope and faith, how blessings come to us in forms we don't expect, how defiance can keep us alive and deception (against those that would harm us) can enable us to be strong. It was very taut, suspenseful, and extremely well-paced. An excellent film! Hugely rec!
Seance on a Wet Afternoon. A "psychic" and her husband plot a kidnapping to earn money. A little known British thriller from 1964 starring Kim Stanley and Richard Attenborough. I wouldn't be surprised if this was a play first, because it uses minimal characters and largely takes place in a house. Despite that, it doesn't feel stagey. Stanley rocks as Myra, a controlling woman with one-screw-loose. Attenborough almost blends into the scenery he is so understated, but when he does finally let go, the result is worth it. An interesting movie.
Carnival of Souls. Movie 51! You are forgiven for "Princess from the Moon," Criterion. This cult classic B-movie is flawless. It's fucking creepy too! A woman survives a deadly car accident and starts seeing freaky souls. Even though it's very different in story, purpose, and special effects, I couldn't help thinking this makes an interesting /compare/contrast to "Psycho." Kudos especially to Candace Hilligoss, who perfects the art of the blank face while still managing to convey terror and confusion behind it. Definitely a top 10 movie.
