Finding Dory
(2016) – 8/10
When the forgetful fish Dory sets out on a journey to
find her parents she learns about both the value of family and her own unique
abilities. It would seem unlikely that this movie would live up to expectation,
but the sequel to ‘Finding Nemo’ pulls it off and for the record I might even
say it’s more worthwhile to think of it as Dory’s own movie. Pixar has
constructed a sequel that is funny, exciting and surprisingly heartfelt. What
was immediately most apparent to me was that the film is much less an externalised
tale of Dory’s separation from Marlin and Nemo, but rather her memory. Perhaps
it doesn’t draw from all of its predecessors themes, but it has its own methods
of drawing you in. For a family movie it has a mild psychological quality that
keeps it moving steadily. This technique is fascinating, but hardly compares to
the joy of simply seeing these great characters on a new adventure. ‘Finding
Dory’ doesn’t beat the 2003 original, but it’s a touching follow-up to a modern
animated classic.
House (1977) –
8.5/10
Oshare, a schoolgirl takes six of her friends to her
aunt’s house in the countryside unaware of a ghostly presence that’s looking to
destroy them. It might be easy to initially dismiss ‘House’ aka ‘Hausu’ for a
generic title and premise, but it’s unlike any other haunted house movie (or
for that matter any other movie in general) I’ve ever seen. The Criterion
Collection has labelled it both “a psychedelic ghost tale” and “an episode of
Scooby-Doo as directed by Mario Bava.” I can’t help but see it as an
experimental merging of cinematic techniques, popular culture and plain
insanity. While the first half of the film can be slow its gradual descent into
a surreal horror picture mark it out as a perfect case study of why some movies
become cult films. Its images sit on a line between beautiful and disturbing,
its sudden changes in tone between horrifying and playful are enjoyably bizarre
and its creative ambition is omnipresent in every scene. ‘House’ cannot be
described, but it really is a gripping, if unconventional experience.
Rebecca (1940) –
8/10
A young but shy woman marries a wealthy aristocrat, but
finds she can’t escape the lasting memory of her new husband’s deceased former
wife, Rebecca. ‘Rebecca’ is the amazing Alfred Hitchcock’s first
American-sponsored project and the film that took home Best Picture of 1940.
Although it doesn’t feature an identical style of the Master of Suspense’s work
from the late 40s onwards, it evidenced that the filmmaker would remain a
Hollywood force for the remainder of his life. This film is much less a
thriller more a mystery with beautiful film-noir and gothic touches. From the
use of shadow, fog and extravagant sets, Hitchcock stirs up a great sense of
unease and applies it consistently. Like any other film in his catalogue,
characters are a driving force towards the realising our curiosities and in
this instance Joan Fontaine’s character’s growth from shy observation to full
understanding of the world around her. A great flick and only the beginning of
Hitchcock’s Hollywood achievements.
The Blade (1995) –
7/10
The master of a sword factory abdicates and appoints his
least popular blacksmith, who instead seeks out the man that killed his father
in spite of the loss of his arm to bandits. From Hark Tsui, the Hong Kong
filmmaker famed for his ‘Once Upon A Time in China’ trilogy takes on the
ambitious project of remaking the Shaw Brothers’ and Chang Cheh’s martial arts
classic ‘One-Armed Swordsman.’ To be honest the film fell slightly below my
expectations for the very reasons it’s been praised. Ding-on’s story is one of
honor and its conflict with being crippled, but I found the film’s focus points
to be unusual. I loved the use of narration, but felt it was delivered by the
wrong character, and while its action is brilliantly choreographed I thought
that the accompanying cinematography was erratic to the point of detriment.
More often than not, I thought too much was dedicated to action and too little
to character, a balance where the original excelled.
Destroy All
Monsters (1968) – 7/10
Aliens invade Earth and release the kaiju contained on
the island imprisonment Monster Land and use them to force a takeover of the
planet, forcing humanity to respond for its survival. For some ‘Destroy All
Monsters’ is a fan favourite, but for me it’s a bit to uneven for me to
consider it such. At times it achieves as far as giant monster movies go, and
other times just proves to be dull. I think the core issue is that the wrong
movie was made when there was the potential for something brilliant. Its
ensemble of kaiju is a dream come true, but the very reason fans love these
movies is underused save for a wonderful finale to make room for a cast of
one-dimensional human characters and their respective stories. It warrants more
focus on its dramatic writing, though where it delivers is in its fantastic
monster brawl. That’s why Godzilla movies are so fun, and for what was
originally going to be the grand end of the franchise it needed more. ‘Destroy
All Monsters’ is mostly an okay feature with pockets of excellence.
Days of Wine and
Roses (1962) – 8.5/10
An alcoholic progressively gets his new wife hooked on
booze to share what he believes is happiness with her, but finds that it also
might be what tears their marriage apart when he pursues sobriety. A few years
ago I fell in love with Billy Wilder’s 1945 film ‘The Lost Weekend’ for it
being an exceptional, close-to-home depiction of alcoholism and ‘Days of Wine
and Roses’ is arguably just as great for it hits all the boxes on the
anti-drinking movie checklist. I’ve yet to see any of director Blake Edwards’
Pink Panther movie, but this film really impressed me and is driving me to see
more of his work. ‘Days of Wine and Roses’ is as much a tale of committed
romance as it is a horror story on the degenerative effects of addiction. As
much credit as I’d love to give to Jack Lemmon and Lee Remick’s redemptive and
depressing performances, I think the movie’s greatest strength is in its tonal
shifts. Sometimes it’s upbeat, and then it suddenly takes on a sinister vibe
through dramatic changes in its visual techniques. Despite dealing with a tough
and relevant topic, I consider it to be as much as cautionary tale as it is a
source of hope for those in the same place as the Clay couple.
Bus Stop (1956) –
7/10
During a trip to Phoenix, a stubborn young cowboy from Montana
falls in love with a saloon singer, and aggressively pursues her even when she
pushes back his advances. ‘Bus Stop’ is an unusual Marilyn Monroe film given
that it isn’t a straight-up comedy or musical. It’s fascinating because there’s
little way I could imagine a movie like this being released today in the same
vein of melodrama. The film is just as much a tale about a young man’s
ignorance about what love is as it is a depressing tale about an aspiring
star’s victimisation by what could only be described as an obsessive stalking.
Monroe’s performance, while not one of her very best, delivers in being just
below enough her usual standard for us to doubt her character Cherie’s
strength. This in turn highlights the gross intolerability of Don Murray’s Bo.
Though this character is played in part humorously for his boisterousness and
stubborn attitude, I personally found him incredibly unlikable. The film
carries itself at a steady pace and its final act is where it really shows its
guns, but I personally disliked its happy ending which I found contradictory
with its other lessons.
The Mirror (1975)
– 7.5/10
A dying poet recalls his past, particularly his childhood
during WWII and the memories of his mother. ‘The Mirror’ is perhaps famed
Soviet director Andrei Tarkovsky’s most personal film given its
semi-autobiographic nature, but in too many ways it’s also a film specially
catered to the generation of Russians that can remember the Great Patriotic
War. This and the additional fact that it’s an art film and much of its drama
is hidden below the surface will no doubt make it hard to digest for some
audiences. Even I admit that I enjoyed it less than his following film
‘Stalker.’ However, it has many qualities that I think make it near-essential
for movie enthusiasts. The cinematography by George Reberg is stunningly
beautiful and takes advantage of practical effects and the wilderness, and
while an unconventional narrative structure is hard getting used to,
Tarkovsky’s various stylistic choices grip you just enough to pull you into its
trance-like effect. Not for everyone, but that’s the nature of many of Tarkovsky’s
works.
Precious (2009) –
7.5/10
An illiterate and overweight teen girl from Harlem
pregnant with her second child enrols in an alternative school with the hopes
of improving her future and escaping her abusive home life. ‘Precious’ is the
last of 2009’s Best Picture nominees I had to see and potentially my least
favourite of the ten. I had concerns about Lee Daniels’ place as director and a
possible ethnocentric preachiness, but I largely found the film to be very
honest and not afraid to linger on some truly depressing notes. Where the film
triumphs is in its readiness to deal with the grim realities, particularly
those in the black community in the 1980s. Abuse and urban poverty as well as
the power of education are all strong themes, and are personified through a
talented cast. My biggest gripe is with some of Daniels’ stylistic choices
which are often over-the-top and unnecessary and often complicate a tale that
should be told in the most direct manner possible.
The Cabinet of Dr.
Caligari (1920) – 8/10
In the town of Holstenwall, the hypnotist Dr. Caligari
uses his somnambulist Cesare to commit a series of murders, drawing the
attention of a group of pursuers. One of the most notable silent features to
come out of Weimar-era Germany and one of the great landmarks in the horror
genre. It’s taken me far too long to see ‘Das Cabinet des Dr. Caligari’ but I’m
very glad I finally made the time for it. Aside from still being very creepy
almost a hundred years since its original release, it’s a wonderful piece both
visually and sonically that epitomises the creativity of many filmmakers in the
period of German expressionism. The film’s most striking feature is its twisted
visual style that makes use of unusual structures and warped landscapes and
drawings that in conjunction with its haunting musical score create
other-worldly qualities. Though its production elements are the most striking,
it’s fascinatingly symbolic of Germany’s WWI experience and the ineptitude of
the authorities. First and foremost, it’s a great horror film that has truly
stood the test of time.
13 Hours: The
Secret Soldiers of Benghazi (2016) – 7.5/10
In the volatile environment of post-Gaddafi Libya, the
unofficial CIA base in Benghazi comes under attack by a horde of Islamist
militants while the security team tries to protect their allies and find a way
out of the situation. It seems unusual that Michael Bay, a director whose being
criticised for empty-headed blockbusters has reached a near-comedic status
would give us a film about a real world issue. This isn’t to say ’13 Hours: The
Secret Soldiers of Benghazi’ reaches its full potential, but it’s a remarkable
improvement over the director’s usual work. It’s restrained on its political
judgements and makes an effort to pay tribute to those involved. Sadly it does
suffer from an indulgence into the intensity of its action sequences and
substitutes character development with common war movie clichés. Some might say
it’s a mature work, but I think that only applies in comparison to what it
could have been. It has a realistic vibe that’s genuinely horrifying,
evidencing Bay did his homework for once and despite what I may feel I’ll give
credit where it’s due. Well done Michael.
Blue Jasmine
(2013) – 8/10
A New York socialite divorced from her wealthy husband
moves in with her sister in San Francisco, bringing with her haunting memories
of a privileged past and narcissistic behaviours that hurt those around her.
Woody Allen’s ‘Blue Jasmine’ is, on top of the wonder ‘Midnight in Paris’ proof
that the comedian and director is at a new high point in his career and his
filmography is ready to evolve with the times. While often called an uncredited
remake of ‘A Streetcar Named Desire’ I find this too belittling a comment and
prefer to see it as a partial tribute to the classic. Where ‘Blue Jasmine’
succeeds is all within the titular character. She’s both a complex echo of what
she once was, and a fascinating insight into mental illness. The film benefits
greatly from its structure, and both its flashbacks and scenes in the immediate
story sit comfortably on the line between the dramatic and the humorous. I
think both major enthusiasts looking for a fresh tale and casual viewers will
have something to like in ‘Blue Jasmine’ for its wonderful cast, visual style,
story structure and its plentiful doses of comedy and tragedy.
Hunt for the
Wilderpeople (2016) – 8/10
After a rebellious kid and his nature-loving foster uncle
go missing in the New Zealand wilderness, a nationwide manhunt is ordered when
the authorities believe their disappearance is more sinister. A huge hit in
both its native New Zealand and abroad, ‘Hunt for the Wilderpeople’ is both
touching and very funny. With its humour being based largely on the absurdity
of the situation and the offbeat nature of its two leads one might be led to
believe that the movie is a mindless on-the-run film that throws its characters
into increasingly unbelievable scenarios. This element certainly rings true to
an extent, but the heart of the story is one based on abandonment anxieties and
family loyalty. Sam Neill is wonderful as expected, but I was equally impressed
by young Julian Dennison’s performance as Ricky that communicates just the
right level of childlike innocence and youthful ignorance. While its undertones
of freedom are prevalent it’s best to see this as a fantastical, sometimes-dark
father-son comedy.
Sea of Love (1989)
– 8/10
A detective investigating a series of murders where the
killer finds victims through a newspaper dating section gets involved with a
woman who may or may not be the culprit. The 1980s marked a quiet time for Al
Pacino, where he only starred in 5 films but there’s no doubt that every time
he brings in the best performance imaginable. This continues to prove true with
‘Sea of Love,’ a film that I’ve known about for years, but just never got
around to seeing. While on one side it’s little more than a run-of-the-mill
murder mystery, the other end is a great romantic thriller full of subtlety and
one that leaves you lingering with questions. Al Pacino’s performance
communicates the loneliness and uncertainties of Det. Frank Keller wonderfully,
but reveals more layers through wonderful chemistry with Ellen Barkin and John
Goodman. It’s a film that keeps you guessing and while not always the most
consistently energetic, it is full of brilliant surprises and makes for a solid
release that doesn’t fit into one lone genre.
X-Men: Apocalypse
(2016) – 7.5/10
Thousands of years after his original appearance, the
first mutant Apocalypse re-emerges in 1983, recruits a small group of powerful
followers to achieve a worldwide cleansing which forces the X-Men, both young
and old to respond. Following from the wonderful ‘X-Men: Days of Future Past’
is what really should have been the most grand film in this entire series, but
sadly it falls short in too many areas. I can’t pin the reason why something
with such potential came out so flawed to one factor alone, but writing is a
big issue. At times it’s a great service to many of its characters, providing
engaging origin stories for some and growth for others. Fassbender’s Magneto,
McAvoy’s Xavier and Lawrence’s Mystique are as fantastic ever. However, Oscar
Isaac’s Apocalypse is a one-dimensional goof and hardly threatening as a
villain, and coupled with some out-of-place humour really distorts the
established sense of stakes. It’s a film with strong themes, but serves its
action before anything else and this makes ‘X-Men: Apocalypse’ enjoyable, but a
missed opportunity.
The Tin Drum
(1979) – 7.5/10
After deciding not to grow up and becoming attached to a
tin drum to protest the normality of his family life, a young boy sees the rise
and fall of the Nazi regime. The Winner for Best Foreign Language Film of 1979,
‘The Tin Drum’ is a most unusual way of telling a story that has become
familiar throughout cinema: the Adolf Hitler regime as seen through the eyes of
the common citizen. I found it quite daring that a West German film would
openly examine what could only have been a deeply taboo topic only 30 years
after the end of WWII. It’s far from my favourite movie of this kind, but some
aspects are truly admirable. Young David Bennent’s performance as Oskar is
among some of the best I’ve ever seen from a child actor, and in the most
quirky way it often provides a childlike view of the Nazis without obscuring
the harsh realities either. What I took home most of all is one important truth
and that’s that life continued as normal for many people and that façade of
normality and the passiveness of the German people is partially to blame for
everything that happened after 1933.
Unbroken (2014) –
8/10
During his wartime service, Olympian Louis Zamperini
survives a near-fatal plane crash, spends weeks on a raft and is then sent to a
prisoner-of-war camp where he’s subjected to inhumane treatment by the
Japanese. The Second World War carries with it innumerable tales of individuals
that are worthy of a cinematic treatment, and Zamperini’s is but one of these.
It’s a tale of the human spirit, the endurance of faith and the ease by which
ill-treatment occurs in a wartime context. Although controversy centres around
the extent of the film’s truth and its depiction of the Japanese I think it
tells reveals an important fact that’s universally applicable. The ‘othering’
of people and nationalism are precursors to human rights abuses as was the case
in Japan’s war crimes. Equally as important, it’s a triumph of character with
its showcasing the commoner surviving against the odds is aided by a crisp
visual style and a powerful performance by Jack O’Connell. Director Angelina
Jolie has done well with the Coen brothers’ script.
Frankenstein Must
Be Destroyed (1969) – 7.5/10
Baron Frankenstein takes a young doctor and his fiancée
hostage to conduct a new experiment, the transplanting of a mentally ill
person’s brain into a new body. The fifth film in the Hammer Frankenstein
series reinforces the fact that these movies are consistently chilling and
provide the sense that this version of Dr Frankenstein’s ventures are endless. Admittedly
this sequel doesn’t do much that’s new and comparatively seems tamer in its
subject matter compared to more daring predecessors. What it does address
however is one of the great aspirations of medical and cognitive science: the
idea of transferring consciousness. While depicted as an exploit of the
horrific, it’s one of the few instances that I found Baron Frankenstein (played
brilliantly as always by Cushing) as a sympathetic character. Not the best, but
not the weakest either.
Rubber (2010) –
6.5/10
While a group of spectators watch the “film” from a
distance, a tire named Robert comes to life, discovers it has powerful
psychokinetic powers and then uses them to wreak destruction upon humanity. The
English-language French production in premise sounds like a B-grade cult film
and most of the time gets most of the expected appeal out of its premise. Sadly
‘Rubber’ doesn’t reach its potential as a horror movie due to writer-director
Quentin Dupieux’s desire to be artsy in his storytelling in a film that
seriously does not warrant it. The result is something that’s greatly amusing
in some ways, but irritatingly pretentious in others. The performances are
generally quite poor, but the real fun comes from over-the-top gore effects and
the sense of wonder stemming from its self-admitted desire to exist for “no
reason.” Where ‘Rubber’ fails is its approach of revealing story through
‘spectators’ and its fourth wall breaks. It’s an instance of taking the desire
to be unique way too far at the expense of the silliness that serves it best.
Lifeboat (1944) –
8/10
After a ship is torpedoed and sunk the survivors find
themselves on a lifeboat with a German seaman from the U-Boat that attacked.
Among Alfred Hitchcock’s earlier works before he would become known as the
Master of Suspense a few years later, ‘Lifeboat’ is a gripping survival story
specific to the WWII period. The question of who one can trust even in the most
desperate hour is fascinatingly as much of a drive to the film’s drama as is
the expectancy of these characters’ survival. Regardless of the setting I feel
that it provides a more universal observation that we’re all human and benefit
from one another’s cooperation. Hitchcock communicates a sense of isolation by
limiting the use of music to convey distance from civilisation, but more
effectively explores this distance through the behaviour of its different
characters, all of whom perform wonderfully. Although it’s no ‘Vertigo,’ I
don’t see ‘Lifeboat’ disappointing admirers of the great Alfred Hitchcock.
Schlock (1973) –
7.5/10
A small town is terrorized by a series of murders
committed by an ape-like creature, who turns out to be a missing link in the
evolutionary chain and falls in love with a blind girl. The directorial debut
of John Landis has for many years been an incredibly rare release due to low
DVD production, but while I wouldn’t say it’s objectively a good film it’s
something I would recommend out of the sheer joy it brings. ‘Schlock’ is a
homage B-grade monster movies of the past and the origin of Landis’ ‘See You
Next Wednesday’ Easter egg. There’s a real sense of fun throughout the
production coupled with the feeling that no rules are applied. People behave in
absurd ways, Schlock adopts both a villainous persona and a place of your pity
and random gags come out of nowhere. It’s evident the making of this film was
laid back, but even with that in mind Landis did fine in his first role as
director.
My Top 10 Movies for February and March 2017
1. Days of Wine and Roses
2. House
3. Rebecca
4. Hunt for the Wilderpeople
5. The Cabinet of Dr. Caligari
6. Unbroken
7. Blue Jasmine
8. Sea of Love
9. Lifeboat
10. Finding Dory
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