Matilda (1996) –
7.5/10
A wonderful little girl blessed with intelligence and
telekinesis learns to navigate the troubles brought by her terrible parents and
even worse principal with the guidance of her teacher. Remembered as one of the
most well-liked family films of the 90s, but perhaps somewhat forgotten today,
‘Matilda’ still proves to be honest, light-hearted fun with a positive message.
Nine year old Mara Wilson delivers an exceptional performance for a child
actor, and given it’s one of the few performances that aren’t totally
over-the-top I think this reflects even more positively for the young talent. Danny
DeVito’s direction is full of charm, but has enough of a quirky visual element
to stand out, giving Roald Dahl’s source material of signal of respect. While
at times the humor of Matilda gets out of hand at the expense of its daring
dark elements, and kids will certainly enjoy it far more than an adult
audience, ‘Matilda’ is a nice treat.
Godzilla vs. King
Ghidorah (1991) – 8/10
In an attempt to prevent Japan’s success in the distant
future time travellers erase Godzilla from history and unleash King Ghidorah to
annihilate the country in the early 90s. This one is held up as a favorite
among many fans of the series and I can definitely see why. It has a much more
up-to-date feeling that the two prior Heisei films, it features some
entertainingly mind-boggling time travel concepts, but all up it’s simply a
generally fun monster movie. Stating the obvious, Godzilla and King Ghidorah
are simply badass and modern effects put their battles in the distant past to
shame in comparison. As one would expect, the human story remains unfortunately
pretty shallow, but in all fairness I think lumping anything involving rubber
monster suits is a tedious effort. So far I’ve been very happy with the Heisei
series and the love of destruction in Godzilla movies in general, and ‘Godzilla
vs. King Ghidorah’ promises that, plus a little extra.
Notorious (1946) –
8/10
The daughter of a convicted Nazi sympathiser is asked to
spy on a group of German scientists hiding out in Rio de Janiero, but when she
falls in love with the American agent advising her the already dangerous task
becomes more complicated. I really believe that the 1940s was the decade when
Hitchcock went from merely being a great filmmaker to being on his way of
becoming one of the best of all time, and ‘Notorious’ is proof of that.
Capitalizing on the recent end of World War II and the ensuing hunt for escaped
Nazi criminals, the film takes us right back to the mood of the latter half of
the decade and puts us right into the shoes of the main characters. As a spy
film, ‘Notorious’ is thrilling and holds us in anticipation for inevitable
results. As a film noir, it’s not quite as visually stunning as some
contemporaries, but still illustrates Hitchcock’s knack for visual aesthetics.
Finally, the romance is thrilling in its own right. I was actually amazed by
how the interplay between leads Cary Grant, Ingrid Bergman and Claude Rains
could surround a love story with such suspense, but then again we’re talking
about the master here.
Whisper of the
Heart (1995) – 8/10
After meeting a boy chasing his dream to be a violin
maker, a young book-loving girl sets out to develop herself as a writer while
dealing with the pressures of adolescence. For a premise that may suggest a
generic teen romance, you can put faith that Studio Ghibli would do their best
to defy the expectation. ‘Whisper of the Heart’ may not have the outlandish
fantasy elements of some more notable Ghibli titles, but it is a very heartfelt
look at the age group of its main characters and in many ways I found it
reflecting back at my own past, which I think any great film should do. It
embraces the immaturity, confusion and conflicting feelings that come with
adolescence in a way that’s ultimately reassuring. Through Shizuku and Seiji
we’re reminded of the importance of having passions and goals that line up with
them and having to take the sacrifices that come with it. Many make a special
note of its romance, but frankly I think side of the film is far less important
than its great aesthetics, positive message and all around feel-good nature.
Hairspray (1988) –
7/10
A ‘pleasantly plump’ teenager becomes a TV dance
sensation in 1962 Baltimore and finds that her newfound fame can be used to
push for racial unity in a deeply segregated city. One of John Waters’ most
well-known works is somewhat of a cult music sensation for the generation of
youth in the 1980s, and this status reflects the range of its appeal. I don’t
think of ‘Hairspray’ as a great film personally, but rather merely a good film
with a few distinctive traits. Sometimes falsely labelled as a ‘musical’ I
actually think the film could broaden its appeal in doing so. I thought its
characters were more devices for plot than engaging participants in it and I
found the campiness to be excessive to an occasional annoyance. Waters does
however take a unique look at the 1960s, commenting on both the dark truths of
two divided societies clashing with one another and the over-the-top
materialism linked to what was then new popular culture. It’s arguably Waters’
most accessible movie, but it’s distinct enough to be considered acquired
taste.
Spider-Man:
Homecoming (2017) – 8/10
After his experience with the Avengers Peter Parker
returns to New York City and begins leading a double life as both a high school
student and the superhero Spider-Man. The Marvel Cinematic Universe certainly
has been a mixed bag, with some titles greatly impressing, some simply coming
along only to fade into an inevitable obscurity and others being plain
disappointing. Fortunately ‘Spider-Man: Homecoming’ is more than competent,
even if not revolutionary as a superhero or high school movie in any respect. I
really enjoyed Tom Holland’s performance and I feel he has a fruitful future
ahead of him as an actor. It’s the little things that make this film work. I
didn’t find its action to be particularly outstanding and admittedly even at
times I saw it as an excess, but the honest depictions of high school life, the
consistent humour and the ways in which the theme “with great power comes great
responsibility” is weaved into the interactions between story and character are
far more meaningful than a blunt statement. While not my favorite Spider-Man
movie by a long shot, it’s pretty good.
Deepwater Horizon
(2016) – 7.5/10
A dramatization of the disaster on the Deepwater Horizon
in 2010, based on the experiences of a select group of individuals following
the explosion that ultimately led to the worst oil spill in American history.
For a director that gave us a terrible film like ‘Battleship,’ ‘Deepwater
Horizon’ is an immense step forward for Peter Berg. It incredibly explosive and
essentially a thrill ride, but it doesn’t obscure the realities of the tragedy,
the lives lost or the lessons learned from it. Surprisingly the
environmentalist element is restrained, and the script instead focuses more on
the nature of corporate greed and negligence. Performances by Mark Wahlberg,
Kurt Russell and Gina Rodriquez are quite strong, but don’t stand out to any
lasting significance. Where ‘Deepwater Horizon’ truly thrives is in structure.
It makes a brilliant use of foreshadowing, exposition and dramatic timing to
keep us fearing the inevitable result, and while its CGI can be very
in-your-face at times the overall experience is one of respect to those
involved rather than a product of exploitation.
Sssssss (1973) –
7.5/10
A college student agrees to be the test subject of a
snake venom-based serum, but only learns of the scientist’s grim intentions
when it’s already too late. It’s impossible to have any kind of discussion on
‘Sssssss’ without mentioning how awkward and cheesy the title is, but it’s
generally a very engaging creature feature and it’s completely unabashed about
its B-grade status. This isn’t to say that it’s implausible factors don’t glare
nor that it excels in performances, storytelling or even in the terror it
promises to induce. There’s a certain wow factor behind its fictional science
that acts as the real driving force, which eventuates in the form of some truly
impressive makeup and a few fairly effective shock moments. The real problems
with ‘Sssssss’ are not in a lack of ambition, but rather the writing is too
uneven to maintain the tension necessary or develop characters appropriately.
Otherwise, it’s trashy fun and I recommend it.
La La Land (2016) –
8.5/10
An aspiring playwright/actress and a jazz pianist meet
and have a wondrous romance while supporting one another’s dreams and waiting
for their big breaks. It’s taken me a while to get around to it, but I’m glad
to say I’ve finally seen ‘La La Land,’ the latest film by ‘Whiplash’
writer-director Damien Chazelle and a major contender for Best Picture of its
year. There’s really not much I can add to the praise that critics and everyday
moviegoers alike, but I’ll go ahead and say it anyway. ‘La La Land’ is
reminiscent of a cinema experience from the past. It’s incredibly theatrical,
has a magical quality in its music and visuals, and it’s a film that ultimately
leaves us feeling very positive and inspired. In saying so it’s really not the
little things that accomplish this. Emma Stone and Ryan Gosling are great as
Mia and Sebastian, but I feel the real credit goes to the way these characters
are written. Their nature is incredibly relatable to the artist and dreamer in
us all and their story is honest over the blood, sweat and tears of making
anything great possible. As a film about people chasing the extraordinary, it’s
only appropriate that watching it should feel the same. Sure to be remembered
as one of the modern greats of cinema, ‘La La Land’ deserves its praise.
Dunkirk (2017) –
8.5/10
Towards the end of the battle of Dunkirk troops from
Britain, Belgium and France are evacuated in a hurried struggle as the German
army surrounds the few beaches still held by the Allies. There are few
directors working today whose films become a special event, and every few years
Christopher Nolan holds that honor. ‘Dunkirk’ is really a different step for
the acclaimed filmmaker, and it doesn’t fit the usual conventions of either his
most recent work or the war movie genre. It’s surprisingly not very
character-oriented, but it pulls you in on a much more subliminal level. That
isn’t to say it doesn’t compel with its depictions of the heroism and despair
involved in the Allied retreat, but it’s so heavy on atmosphere and mood that
it feels like it’s somewhat of an art film. The spectacles of warfare are
contained, yet hit us in such a way that we’re held in a state of fear at every
given moment. Some are already calling ‘Dunkirk’ one of the best war movies
ever made and a contender for Best Picture, and I think a win for Christopher
Nolan is overdue. It has the best aspects of the modern genre entry and has the
ambitions to set itself apart from the very same movies.
The Trouble with
Harry (1955) – 8/10
The trouble with Harry is that he is dead, and everybody
in this small Vermont town in convinced that they have something to do with it
and feel they have to do something about the body before the authorities
discover it. We tend to associate Hitchcock with intense thrillers and murder
mysteries, and what’s fascinating is that at the height of his success as a
filmmaker he experimented in black comedy with ‘The Trouble with Harry.’ The
great result illustrates that Hitchcock’s talents were universal. It’s incredibly
amusing to see all these different characters react to the situation in their
own ways. There’s a morbid edge to it that generates suspense, but it
simultaneously directs the film into a cheery romantic comedy, a genre that’s
complimented by its use of picturesque landscapes. It’s not an
edge-of-your-seat thriller, nor do I think it’s hilarious, but it’s filled with
a lot of feel-good vibes and Hitchcock masterfully puts his twisted spin on it.
This makes ‘The Trouble with Harry’ more than worthwhile.
To Sir, with Love
(1967) – 8/10
An educated engineer takes up a teaching post in London’s
East End and gets more than he bargained for when he gets a class of delinquent
kids. ‘To Sir, with Love’ is a distinctive product of the 1960s and I really
couldn’t see such a film succeeding in such a way at a later point in time. Is
does mean that in some ways it’s outdated, but I think it holds up pretty well.
Lulu’s hit song seems to be the most identifiable trait, but like any great
film it’s not popular music that drives success, it’s a meaningful narrative.
‘To Sir, with Love’ capitalizes on the era’s growing concerns of social
justice, namely race relations and poverty. Sidney Poitier really is the big
selling point of this film for me. His performance is both sentimental and
authoritative, proving that he truly is one of the greatest actors of his
generation.
War for the Planet
of the Apes (2017) – 8/10
As the conflict between humans and apes continues, Caesar
seeks to end the war by undertaking a quest to avenge his kind and confronting
his darker instincts. While the title would suggest truly epic proportions it
proves to be pretty misleading. This fact however does not work against ‘War
for the Planet of the Apes.’ It’s actually a very sombre exploration of our
nature at its worst and the horrors that hate and fear can lead to. This is
exemplified by both our hero Caesar, once again brilliantly played by Andy
Serkis and the new villain, Woody Harrelson’s Colonel. Despite the more
intimate explorations of character the film is largely a depressing experience.
A bleak visual style and uncompromising depictions of cruelty can make the film
sometimes very difficult to watch, but in true blockbuster fashion we’re given
an ending that satisfies after everything we’ve been put through. Admittedly
it’s probably my least favorite of this new Planet of the Apes franchise, but
knowing more movies in this universe are already being planned there’s more to
be excited for.
The 300 Spartans
(1962) – 7.5/10
The tale of a small army of 300 Spartans, who defend
Greece from invading Persians at the Battle of Thermopylae in 480 BC. While
many audiences today would sooner think to the 2007 film based on the Frank
Miller graphic novel, the story of Leonidas and his men was told in a truly Old
Hollywood fashion and in doing so presented a uniquely American attitude
towards the Cold War. Politically and as a film epic it hasn’t aged nearly as
well as some of its contemporaries. It doesn’t have the strongest or most compelling
characters, its action is repetitive and its inevitable conclusion is mostly
unsatisfactory and rushed. ‘The 300 Spartans’ does however boast the positives
associated with this genre at this time in film history: Depictions of
unbridled heroism, compelling performances by stars, a likable romantic subplot
and the struggle between good and evil that’s essential to any great story.
Top 10 Films for July 2017
1. La La Land
2. Dunkirk
3. Notorious
4. To Sir, with Love
5. The Trouble with Harry
6. War for the Planet of the Apes
7. Spider-Man: Homecoming
8. Whisper of the Heart
9. Godzilla vs. King Ghidorah
10. The 300 Spartans
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