Have some more reviews....
Aug. 27th, 2012 08:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
felicitykingMost people who do these don't count rewatches, but I do. Why? It gives me a good barameter for putting the film into a larger context of cinema history, as well as to how see how much my tastes have changed (or broadened). (Plus I don't obsessively rewatch films. I pull them out once a year or so for a full rewatch. Usually if I pull a film out, it's to rewatch a certain scene(s) obsessively.) Anyway, here's my newest set. (Go visit my tumblr for gifs and photosets from the movies. Feel free also to ask any questions if you want to know more about a film.)
Onibaba (1964)
A Japanese horror film that felt very Western in style. But I think that is probably because so many Western cultural motifs have stolen from Japanese films. I'm surprised this film hasn't been remade by Hollywood since it has a universality to it. (It isn't culturally specific like House was.) A woman and her daughter-in-law struggle to survive in post-war Japan. Then, one day a cursed mask comes their way. I've watched a lot of foreign cinema this year, but this film especially made me realize how ~conversative~ studio system Hollywood was towards sexuality (there are several sex scenes and even a masterbation scene in this)
The Face of Another (1966)
Great concept, bad execution. A man who lost his face has another made. The face turns him into a different person. It felt almost like HG Wells' The Invisible Man in what it dealt with. The movie falls apart because it pushes the horror aspect too hard, and the horror aspect isn't properly explained. Actually, the film seems rather dated. It does have great cinematography though and a great Japanese cast.
Whale Rider (2002)
One of the films I watched while housesitting. This was soooooo beautiful. Everything about it was flawless. You have to be heartless to dislike this film. A young girl proves she is capable of being the leader of her tribe. Even though the story is universal, I enjoyed how the film showed how big the world has gotten (the girl's father lives in Germany and is remarrying, her grandfather is a traditionalist who believes the all-male line should be continued out of respect to history, etc, etc)
Wings of Desire (1987)
This film is usually listed as one of the 100 greatest movies all time on many a list, and indeed it is. A enchanting story about an angel who falls for a circus performer in Berlin, this movie asks questions about the passage of time, love, being alive, what it means to be human. Yet it never felt heavy. It's just a slow quiet film. And worlds better than it's Hollywood remake City of Angels.
Trainspotting (1996)
I remember when this film came out because there was talk about a toilet scene and how revolting and yet how beautiful it was. And, that basically describes this entire film. Revolting but beautiful. It's basically about a bunch of drug addicts and their adventurres. It's a sarcastic little film. I couldn't have watched this film when it first came out (I was very prim back then and my idea of good films consisted of period dramas and "high minded" award-nominated ones.) But I'm glad I saw it this year instead of any other year (because I've seen such a diversity of films, this film wasn't off-putting despite its grossness and less-than-inspiring characters.) I would definitely watch this again, but it's not for everybody (but if you like Danny Boyle, you'll probably like this)
Pale Flower (1964)
A Japanese noir about a man who been released from prison to be hired for a hit job. This film had all the potential to be good, but it felt underdeveloped, character and story wise. Another 15 minutes to a half hour would have greatly benefited it. Also, it was too damn dark! Dark, cinematography wise, that is. I had read it has wonderful shots but I didn't see it. Everything is blurred and blackened to the point that you feel like the film was shot with the idea of "this how the world looks for someone who is blind." Biggest impression of the film though was the the lead actor was hot!
Deprisa, Deprisa (1981)
A Spanish film about a bunch of friends who perform heists and use drugs as recreation. This is a very different view of Spain. Even though it's impossible to tell now, the film is about people who are impoverished, and have no hope for a better life, which is why they turn to crime. (Impossible cuz the clothes and homes don't seem "ghetto" and yet from the dialogue, one can tell the characters have been through turmult.) I thought it was good, but I think its influence has receded as the film's cultural context has been lost.
Kill Bill: Volume 1 (2004)
Suddenly all the weird Japanese films I've seen this year make sense! I've seen bits and pieces of this but never the whole movie. As you might recall, when I watched House, I found it exceedingly bizarre, strange, and just a big old "what the fuck." Well, clearly, somewhere in his childhood, Quentin Tarantino saw that film (and other likes it) and was "that's awesome!' Now, it must be said, KB is still very Hollywood. While it rips/homages Japanese horror film in every single sense (there wasn't a shot from this film that didn't own something to Japanese horror cinema), the story itself is completely American (American being both trash cinema and old classic Hollywood westerns). This film was like Desperato in that it was entertaining and so much fun despite, or maybe because of, it's over the top violence and stylization.
Ethan Frome (1993)
A depressing film about depressing people. I've never read the novel, but I watched this for the cast and the director (John Madden). I haven't seen that much of The O.C. but seeing Tate Donovan in a period drama just felt wrong. Joan Allen was wonderful. Don't really have much to say about this film though.
Like Water for Chocolate (1992)
Winner of the equiv of Mexico's Best Picture Oscar, this film gave us Alfonso Arau who would direct A Walk in the Clouds after this. I reread the book earlier this year and disliked it, but I watched the film for Arau. Surprisingly, I disliked the film for different reasons the book. The book fails cuz it equates all consuming passion with love, and the characters all like catty teens during the entire 30 year time period (it's like a Mexican Gossip Girl...). The film fails because it is flat. The characters show no passion and their acting...is very very very very very very understated. Understated doesn't work for a book like LWFC. But the costumes and scenery porn are nice. And, after watching, it makes me appreciate Arau more and why he was chosen to direct A Walk in the Clouds.
Heaven (2002)
A woman is convicted of terrorism, and while in prison falls for a security guard. This film felt like a high-brow indie take on Hollywood action films. Unfortunately, it felt like 2 separate film in 1. The first half was thoughtful in how it discussed the intersectionality of drugs and terrorism, but the second half collapsed. The second half turned into "OTP on the run" and the film didn't give us enough time to believe the lovers would all hearts and flowers and goo-goo eyed over each other. Its strong points were the acting the amazing cinematography. (Seriously this is one the most beautiful films I've ever seen. I would watch it again just the for the scenery porn despite the very weak storyline.)
Tadpole (2002)
Back when I discovered X-Men, I got obsessed with the cast, and that is how I found this little gem starring Aaron Stanford (who is the very opposite of Pyro here). A teenager in love with his stepmother. Despite having all the trappings of indie film, it never feels pretentious. You believe it really takes place on the Upper East Side, You believe the characters would discuss philosophy and literature and being over-achievers. I guess the reason why the film doesn't feel pretentious is that the director and the flawless cast never treat the characters of Special Snowflakes (which is basically the reason why 90% of indie films exist...) but just as everyday people who happen to rich, studied, and living their day to day lives. I definitely rec it!
The Match Factory Girl (1989)
This film is supposed to be a dark comedy, but I just found it depressing. My first Finnish film is about a down-on-her-luck girl who supports her parents and goes out to clubs. Through a series of events, she loses everything. She decides to retaliate. The last 15 minutes are wonderfully twisted and fun to watch, but certainly not LOL! worthy. This film is also one of those ugly beautiful films where mundane, seedy items end up looking enchanting due to how the scene is staged. This actually reminded me of L'Argent in how it addressed crime, poverty, and desparation. Like that film, this film has no official soundtrack: any music from the movie comes from the scene itself (a record playing, nightclub music, work machines running, etc)
Summer with Monika (1953)
I feel very sorry for you if you've never watched an Ingmar Bergman film. You don't what you are missing. This is Bergman's take on the teenage rebellion story. Like it's Japanese coming-of-age counterparts, this film is also frank with sexuality (back in the old days, I bet all non-US citizens were laughing at Hollywood for how prude it was. Rebel Without a Cause came out the same decade and features no nudity and still the censors bawled at how Natalie Wood was portrayed. Meanwhile this and Crazed Love feature nudity and sex...) I know I always start or end my reviews with this, but the cinematography was STUNNING!. Bergman can't make a ugly film. (Which is fine cuz he really knows how to make anything look orgasmic.) But it's not just that. His stories are timeless too. I won't spoil the plot but it's basically a very tragic story about idealistic teenage love gone wrong.
I am ashamed to that film revealed to my inner misogyny. Despite years of feminism, it appears the media is still good at making me root for the guy no matter the context. This isn't an extreme example as Chuck and Blair, but it's still bad. At one poin in the film, the female is being a ttotal bitch. Everything that is happened has forced you to root against her, hate her. And she confesses something and the guy hits her. Well, right before he does, I found myself thinking "she deserves to be hit." It hit me not a second later what I had thought but it still happened.
It did force me to pull back from the film and contextualize her character. She's not bad, she just not portrayed as good or angelic (in contrast to the male). But I got so sucked into the film I ignored the context (because nothing in the second half is from her POV. The film really wants you to hate on her.) But, UGH! It pisses me off to end I could have thought that so easily that she deserves to be hit. (I can't hate on Ingmar Bergman though because he's not the type of director to put any of his characters on a pedestal. He just is sometimes too straightforward in the telling.)
I'll be hitting 150 by next week. I'm really excited! Of course, I have lots of film recs if you need any. (4-5 in particular that I really hope people will watch but no amount of reblogging on tumblr of those 5 has convinced anyone to watch them. Yet. SOB SOB SOB :D ;) )
Before I hit 200, I do plan to fill in one gap. Bollywood/Indian films. It has stuck out to me and annoyed me that I'm watching films from elswhere but not there. (Also, films from Africa, if I can find any online. Hulu has Indian films but not African ones.) As to why I'm watching so many foreign language films this year: hulu has them available via the criterion link, and I've neglected them for many a year. (For years I was lucky if I could watch 1. Now I can watch as many as I want. So I'm trying to make up for the years I haven't been able to watch them.) Hollywood films are always there to watch when I want to see them (more accessible via a variety of places) so my neglect of them isn't purposeful or because I'm turning into a "too good for mainstream things" hipster.. Just trying to fill in other holes in my cinematic knowledge. (And technically many of the obscure films I've watched this year are Criterion-linked, and Criterion is the US snob label that restores "films that matter" so my film education is still being filtered through a mainstream, acceptable film label.)
Onibaba (1964)
A Japanese horror film that felt very Western in style. But I think that is probably because so many Western cultural motifs have stolen from Japanese films. I'm surprised this film hasn't been remade by Hollywood since it has a universality to it. (It isn't culturally specific like House was.) A woman and her daughter-in-law struggle to survive in post-war Japan. Then, one day a cursed mask comes their way. I've watched a lot of foreign cinema this year, but this film especially made me realize how ~conversative~ studio system Hollywood was towards sexuality (there are several sex scenes and even a masterbation scene in this)
The Face of Another (1966)
Great concept, bad execution. A man who lost his face has another made. The face turns him into a different person. It felt almost like HG Wells' The Invisible Man in what it dealt with. The movie falls apart because it pushes the horror aspect too hard, and the horror aspect isn't properly explained. Actually, the film seems rather dated. It does have great cinematography though and a great Japanese cast.
Whale Rider (2002)
One of the films I watched while housesitting. This was soooooo beautiful. Everything about it was flawless. You have to be heartless to dislike this film. A young girl proves she is capable of being the leader of her tribe. Even though the story is universal, I enjoyed how the film showed how big the world has gotten (the girl's father lives in Germany and is remarrying, her grandfather is a traditionalist who believes the all-male line should be continued out of respect to history, etc, etc)
Wings of Desire (1987)
This film is usually listed as one of the 100 greatest movies all time on many a list, and indeed it is. A enchanting story about an angel who falls for a circus performer in Berlin, this movie asks questions about the passage of time, love, being alive, what it means to be human. Yet it never felt heavy. It's just a slow quiet film. And worlds better than it's Hollywood remake City of Angels.
Trainspotting (1996)
I remember when this film came out because there was talk about a toilet scene and how revolting and yet how beautiful it was. And, that basically describes this entire film. Revolting but beautiful. It's basically about a bunch of drug addicts and their adventurres. It's a sarcastic little film. I couldn't have watched this film when it first came out (I was very prim back then and my idea of good films consisted of period dramas and "high minded" award-nominated ones.) But I'm glad I saw it this year instead of any other year (because I've seen such a diversity of films, this film wasn't off-putting despite its grossness and less-than-inspiring characters.) I would definitely watch this again, but it's not for everybody (but if you like Danny Boyle, you'll probably like this)
Pale Flower (1964)
A Japanese noir about a man who been released from prison to be hired for a hit job. This film had all the potential to be good, but it felt underdeveloped, character and story wise. Another 15 minutes to a half hour would have greatly benefited it. Also, it was too damn dark! Dark, cinematography wise, that is. I had read it has wonderful shots but I didn't see it. Everything is blurred and blackened to the point that you feel like the film was shot with the idea of "this how the world looks for someone who is blind." Biggest impression of the film though was the the lead actor was hot!
Deprisa, Deprisa (1981)
A Spanish film about a bunch of friends who perform heists and use drugs as recreation. This is a very different view of Spain. Even though it's impossible to tell now, the film is about people who are impoverished, and have no hope for a better life, which is why they turn to crime. (Impossible cuz the clothes and homes don't seem "ghetto" and yet from the dialogue, one can tell the characters have been through turmult.) I thought it was good, but I think its influence has receded as the film's cultural context has been lost.
Kill Bill: Volume 1 (2004)
Suddenly all the weird Japanese films I've seen this year make sense! I've seen bits and pieces of this but never the whole movie. As you might recall, when I watched House, I found it exceedingly bizarre, strange, and just a big old "what the fuck." Well, clearly, somewhere in his childhood, Quentin Tarantino saw that film (and other likes it) and was "that's awesome!' Now, it must be said, KB is still very Hollywood. While it rips/homages Japanese horror film in every single sense (there wasn't a shot from this film that didn't own something to Japanese horror cinema), the story itself is completely American (American being both trash cinema and old classic Hollywood westerns). This film was like Desperato in that it was entertaining and so much fun despite, or maybe because of, it's over the top violence and stylization.
Ethan Frome (1993)
A depressing film about depressing people. I've never read the novel, but I watched this for the cast and the director (John Madden). I haven't seen that much of The O.C. but seeing Tate Donovan in a period drama just felt wrong. Joan Allen was wonderful. Don't really have much to say about this film though.
Like Water for Chocolate (1992)
Winner of the equiv of Mexico's Best Picture Oscar, this film gave us Alfonso Arau who would direct A Walk in the Clouds after this. I reread the book earlier this year and disliked it, but I watched the film for Arau. Surprisingly, I disliked the film for different reasons the book. The book fails cuz it equates all consuming passion with love, and the characters all like catty teens during the entire 30 year time period (it's like a Mexican Gossip Girl...). The film fails because it is flat. The characters show no passion and their acting...is very very very very very very understated. Understated doesn't work for a book like LWFC. But the costumes and scenery porn are nice. And, after watching, it makes me appreciate Arau more and why he was chosen to direct A Walk in the Clouds.
Heaven (2002)
A woman is convicted of terrorism, and while in prison falls for a security guard. This film felt like a high-brow indie take on Hollywood action films. Unfortunately, it felt like 2 separate film in 1. The first half was thoughtful in how it discussed the intersectionality of drugs and terrorism, but the second half collapsed. The second half turned into "OTP on the run" and the film didn't give us enough time to believe the lovers would all hearts and flowers and goo-goo eyed over each other. Its strong points were the acting the amazing cinematography. (Seriously this is one the most beautiful films I've ever seen. I would watch it again just the for the scenery porn despite the very weak storyline.)
Tadpole (2002)
Back when I discovered X-Men, I got obsessed with the cast, and that is how I found this little gem starring Aaron Stanford (who is the very opposite of Pyro here). A teenager in love with his stepmother. Despite having all the trappings of indie film, it never feels pretentious. You believe it really takes place on the Upper East Side, You believe the characters would discuss philosophy and literature and being over-achievers. I guess the reason why the film doesn't feel pretentious is that the director and the flawless cast never treat the characters of Special Snowflakes (which is basically the reason why 90% of indie films exist...) but just as everyday people who happen to rich, studied, and living their day to day lives. I definitely rec it!
The Match Factory Girl (1989)
This film is supposed to be a dark comedy, but I just found it depressing. My first Finnish film is about a down-on-her-luck girl who supports her parents and goes out to clubs. Through a series of events, she loses everything. She decides to retaliate. The last 15 minutes are wonderfully twisted and fun to watch, but certainly not LOL! worthy. This film is also one of those ugly beautiful films where mundane, seedy items end up looking enchanting due to how the scene is staged. This actually reminded me of L'Argent in how it addressed crime, poverty, and desparation. Like that film, this film has no official soundtrack: any music from the movie comes from the scene itself (a record playing, nightclub music, work machines running, etc)
Summer with Monika (1953)
I feel very sorry for you if you've never watched an Ingmar Bergman film. You don't what you are missing. This is Bergman's take on the teenage rebellion story. Like it's Japanese coming-of-age counterparts, this film is also frank with sexuality (back in the old days, I bet all non-US citizens were laughing at Hollywood for how prude it was. Rebel Without a Cause came out the same decade and features no nudity and still the censors bawled at how Natalie Wood was portrayed. Meanwhile this and Crazed Love feature nudity and sex...) I know I always start or end my reviews with this, but the cinematography was STUNNING!. Bergman can't make a ugly film. (Which is fine cuz he really knows how to make anything look orgasmic.) But it's not just that. His stories are timeless too. I won't spoil the plot but it's basically a very tragic story about idealistic teenage love gone wrong.
I am ashamed to that film revealed to my inner misogyny. Despite years of feminism, it appears the media is still good at making me root for the guy no matter the context. This isn't an extreme example as Chuck and Blair, but it's still bad. At one poin in the film, the female is being a ttotal bitch. Everything that is happened has forced you to root against her, hate her. And she confesses something and the guy hits her. Well, right before he does, I found myself thinking "she deserves to be hit." It hit me not a second later what I had thought but it still happened.
It did force me to pull back from the film and contextualize her character. She's not bad, she just not portrayed as good or angelic (in contrast to the male). But I got so sucked into the film I ignored the context (because nothing in the second half is from her POV. The film really wants you to hate on her.) But, UGH! It pisses me off to end I could have thought that so easily that she deserves to be hit. (I can't hate on Ingmar Bergman though because he's not the type of director to put any of his characters on a pedestal. He just is sometimes too straightforward in the telling.)
I'll be hitting 150 by next week. I'm really excited! Of course, I have lots of film recs if you need any. (4-5 in particular that I really hope people will watch but no amount of reblogging on tumblr of those 5 has convinced anyone to watch them. Yet. SOB SOB SOB :D ;) )
Before I hit 200, I do plan to fill in one gap. Bollywood/Indian films. It has stuck out to me and annoyed me that I'm watching films from elswhere but not there. (Also, films from Africa, if I can find any online. Hulu has Indian films but not African ones.) As to why I'm watching so many foreign language films this year: hulu has them available via the criterion link, and I've neglected them for many a year. (For years I was lucky if I could watch 1. Now I can watch as many as I want. So I'm trying to make up for the years I haven't been able to watch them.) Hollywood films are always there to watch when I want to see them (more accessible via a variety of places) so my neglect of them isn't purposeful or because I'm turning into a "too good for mainstream things" hipster.. Just trying to fill in other holes in my cinematic knowledge. (And technically many of the obscure films I've watched this year are Criterion-linked, and Criterion is the US snob label that restores "films that matter" so my film education is still being filtered through a mainstream, acceptable film label.)
