tag:blogger.com,1999:blog-18747634485139556222024-03-13T22:23:35.495-07:00Film WaffleEllyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-1874763448513955622.post-28196608886165587502020-01-25T14:56:00.001-08:002020-01-25T15:26:43.017-08:00Top 10 Films of 2019<br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">From breathless war epics to delicious whodunits, 2019 was
such a great year for film that I had to come out of my cave and write a top 10
list. It’s a bit late, as usual, but with some cinemas bringing films back
before the Oscars, you might still be able to catch them on the big screen! No spoilers:<br style="mso-special-character: line-break;" />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>10) Pain and Glory</b> dir. Pedro Almodovar<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Antonio Banderas plays Salvador Mallo, an aging film
director who has writer’s block. Unlike most of Almodovar’s previous films, <i style="mso-bidi-font-style: normal;">Pain and Glory</i> is quiet and restrained.
Part fiction and part autobiographic, he reminisces about childhood days spent
with his mother collecting film star trading cards, while reflecting on the
choices he’s made and confronting death. It’s raw and intense, but never goes
over the top. What does seep through though, is his undeniable love for cinema.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>9) Us</b> dir. Jordan Peele<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Perhaps not as massive a hit as <i style="mso-bidi-font-style: normal;">Get Out</i>, but definitely a lot scarier. Division seems to be a
recurring theme in many of this year’s films - namely that between the rich and
the poor (<i style="mso-bidi-font-style: normal;">Parasite</i>, <i style="mso-bidi-font-style: normal;">Hustlers</i>, <i style="mso-bidi-font-style: normal;">Ready or Not</i>…) – and <i style="mso-bidi-font-style: normal;">Us</i>
examines this in the most inventive way. Even if you don’t want to go down that
rabbit hole, it can be enjoyed as a straight-up horror film. After all these
months, Lupita Nyong’o’s croaky voice still haunts me.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>8) Marriage Story</b> dir. Noah Baumbach<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Noah Baumbach’s characters tend to come off as a bit cold
because I can almost never relate to them. <i style="mso-bidi-font-style: normal;">Marriage
Story</i> for me is his best work to date. Despite never having been married, I
connected to the two lead characters who fumble their way through a collapsing
marriage and helplessly turn into versions of themselves they probably never
imagined they would. I found it to be beautifully poignant, with amazing
performances.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>7) 1917</b> dir. Sam Mendes<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Films can go down a top 10 list as you watch more of them,
but the opposite seldom happens. Straight after coming out of <i style="mso-bidi-font-style: normal;">1917</i>, sure, it was a riveting
experience, “but probably won’t make my top 10”, I thought. But it stayed with
me, and as the days went by, higher up my list it went. The ‘one-shot effect’ puts
you right there with them in the mud, and unlike many others it seems, I was
really invested in the characters. It’s a visual tour de force, and should be
seen on the biggest screen possible.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>6) Transit</b> dir. Christian Petzold<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Every time I tell my partner she should watch <i style="mso-bidi-font-style: normal;">Transit</i>, she says, “that’s that one
about the couple running from the Nazis, no?” to which I don’t want to say yes
or no, because that realisation is the beauty of the film. In a cold and
uncaring world, our characters, acting out of self-interest for the most part, wander
around in limbo chasing ghosts. Time and again, we watch their smiles turn into
heartbreak. Petzold’s previous film <i style="mso-bidi-font-style: normal;">Phoenix</i>
made my top 10 in 2014, and by now he’s a master of his craft.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>5) Knives Out</b> dir. Rian Johnson<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">With his <i style="mso-bidi-font-style: normal;">The Last Jedi</i>
money and acclaim, Rian Johnson can do whatever he wants, and what a treat that
is! For mystery fans, this film is a gift sealed with a ribbon. Everything is
right there for us to deduce, and all the little details come together nicely.
The script is tight, and the characters are fully-formed played by an excellent
cast. It’s fun, offers biting social commentary, and most of all it has warmth.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>4) Little Women</b> dir. Greta Gerwig<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Oh to have the balls to take on such a huge classic for your
second film! In this version, past and present are weaved together. Far from
making it confusing, for the first time ever, every motive made sense, and each
character was wholesome. I was smiling from beginning to end, and wanted to stay
snuggled up in that warm and happy place forever. Greta Gerwig adds a modern
perspective while honouring the source material, making this the ultimate
adaptation.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>3) Portrait of a Lady on Fire</b> dir. Céline Sciamma<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I saw this film here with Spanish subtitles, and much to my
delight I understood everything. That’s not so much a result of my Spanish skills
as it is because of the visual storytelling. It opens in a painting class, in
which Marianne instructs her students to observe, but it’s us being tutored to
pay attention to every glance and silent moment. It’s a sensual and captivating
love story which took my breath away. Set in 18<sup>th</sup> century France,
the romance is doomed, but it burns brightly before being snuffed out.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>2) The Farewell</b> dir. Lulu Wang<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Though it clearly comes from a personal place, you don’t
need to be between cultures to be moved by this delightful film. It’s about both
protecting and clashing with family, dealing with illness as well as missing home.
Balancing heartbreak with humour, it’s an unforgettable experience with a
beautiful performance by Awkwafina. The film was completely overlooked by the
Academy, but it’s found a special place in my heart.<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>1) Parasite</b> dir. Bong Joon Ho<o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Parasite took the world by storm this year, becoming only
the 12<sup>th</sup> film not in the English language to be nominated for Best
Picture, and the first ever for South Korea. The road was always leading here
for Bong Joon Ho. He’s perfected the crime genre (<i style="mso-bidi-font-style: normal;">Memories of Murder</i>), he’s a master of suspense (<i style="mso-bidi-font-style: normal;">Mother</i>, <i style="mso-bidi-font-style: normal;">The Host</i>), and we know he has a penchant for the absurd (<i style="mso-bidi-font-style: normal;">Snowpiecer</i>). This time he’s combined it
all into one. The Palme d’Or winner starts off as a comedy of sorts, has you on
the edge of your seat at times, and even tugs at your heartstrings. It’s wildly
entertaining, rich in visual poetry and superbly acted across the board.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The following films were in my top 10 at some point or
another, and may well have made the cut on any other day. They’re too good to
not mention, so very briefly:<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Rocketman </b>dir. Dexter Fletcher<br />
A bold, dazzling film with a killer performance by Egerton. Had so much fun!
That he wasn’t even nominated for the Oscar is an injustice…<br /><b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Hustlers</b> dir. Lorene Scafaria<br />
Speaking of injustices, J-Lo gives the performance of her life and has also
been snubbed. Based on a true story, it’s slick and stylish, but never exploits
its characters.<br /><b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Jojo Rabbit</b> dir. Taika Waititi<br />
It’s either the perfect time or the worst time for this kind of film. Some
moments were genuinely moving, and the kids are so cute!<br /><b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Atlantics</b> dir. Mati Diop<br />
The exquisite and haunting directorial debut of Mati Diop about the women left
behind. It’s impossible to describe, but easily available on Netlix.<br /><b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>I Lost My Body</b> dir. Jérémy Clapin<br />
Another gem I found on Netflix. A delightful little story of a detached hand on
a journey back to its owner, with a surprisingly profound resolution.</span></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-52613902679396079782018-03-04T15:00:00.002-08:002018-03-04T15:00:22.158-08:00Top 17 Film Moments of 2017<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I suddenly had the idea to do a top film moments post like I once did a few years ago, in order to keep a record of some other films I liked outside of my top 10. For some reason I felt the need to do it before the Oscars, so I've rushed through the list in one evening.<br /><br />Spoilers, obviously (I tried not to include spoilers in the pictures):</span></div>
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<i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Split </i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">would’ve been a perfectly entertaining
film without the ending, but that ending made it just that extra bit special.
We find out that James McAvoy’s character, nicknamed The Horde, has escaped and
is on the loose. First we hear the familiar music. Then we see a news report
about him in a diner, where someone talks about a similar case from 15 years
ago – the “funny guy in a wheelchair. What was his name?” “Mr. Glass” says a
voice behind her – it’s none other than Bruce Willis! And for the first time we
realise we’ve been watching a sequel to </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Unbreakable</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">.</span></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Terrified of losing Hector to the ‘final death’, Miguel rushes to his great
grandmother’s side, begging her to remember him. But Mama Coco can barely make
out what he’s talking about, let alone remember anything. His family surround
him, demanding he explain himself and apologise, when he picks up his guitar
and, voice trembling, begins to sing </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Remember
Me</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, the song Hector had written for her. Mama Coco’s face lights up, and
she starts to sing along. It suddenly got very dusty in the cinema for the
people sitting around me.</span></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">When Lady Bird barges into her boyfriend Danny making out with a guy in the
bathroom and crosses his name off the wall in her room, we don’t think we’ll
see him again. Onto the next guy, probably. But he comes back to the cafe that
she works at, and awkwardly starts talking about how his grandma missed her at
Thanksgiving. She cuts to the chase and blurts out, “You’re gay!” In a panic,
he begs her to not tell anyone, explaining that his parents don’t know and he
needs time to figure out how to tell them. Her expression switches to a
compassionate one in an instant and they embrace as he starts to cry. In a film
with plenty of beautiful little moments, this one stood out to me the most.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-v1VZoh5LUdd2gQez2zT5JD-w2RdxDUrRhrv91IbPRisN0I1ssIsMcaX9lLEVmN1UIA9x_d1qI1ON5CquhIfxkZ_kG47nojQNgFgOOB_hy5s7-Q3NSMlGz8gOiaCxNKqJr0nWHP-HEvEx/s1600/killing.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="620" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-v1VZoh5LUdd2gQez2zT5JD-w2RdxDUrRhrv91IbPRisN0I1ssIsMcaX9lLEVmN1UIA9x_d1qI1ON5CquhIfxkZ_kG47nojQNgFgOOB_hy5s7-Q3NSMlGz8gOiaCxNKqJr0nWHP-HEvEx/s320/killing.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Unable to choose which one of his family members to sacrifice, Colin Farrell’s
character seats his wife, daughter and son in the living room, covers his face
with a beanie and spins around, randomly firing his rifle until someone is
killed. I was enjoying the unfolding horror (quite satisfying after watching
them speak in such a robotic, monotone manner throughout the whole film), but
this scene was bananas.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="font-size: large;">13. A Fantastic Woman: Through the Wind</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSAfF9G4n42rQbwebyBvwNosXJpBtGqbJ7sSdTY9hOHYxGrTwM0we_GBAXjwU9prYAxp1p5wYCw9yuDDH1PsIFqu71xFhwyz8Bs6ifFlqQhkj93ohJYJARiYG04e8IHen2oPAORK2LZSo/s1600/fantasticwoman.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="425" data-original-width="780" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSAfF9G4n42rQbwebyBvwNosXJpBtGqbJ7sSdTY9hOHYxGrTwM0we_GBAXjwU9prYAxp1p5wYCw9yuDDH1PsIFqu71xFhwyz8Bs6ifFlqQhkj93ohJYJARiYG04e8IHen2oPAORK2LZSo/s320/fantasticwoman.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Marina, a transgender woman, loses her lover to a sudden seizure and is unable to even attend his funeral because of the family’s unacceptance of her. It’s a powerful film with a mesmerising performance by Daniela Vega who plays Marina with strength and dignity that trumps the cruelty of the people around her. In one of several surreal, dream-like scenes, the wind blows with such intensity as she walks down the street, and in fighting against it she tilts practically paralleled to the ground. It’s a beautiful moment that briefly puts us into her shoes.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>12. Logan: Opening Massacre</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFpYNDQhdjT2J80EP7B8kqfzNxPMJwR22UY-oPXxQ4s02_0dgEhHaE1v6Wsjlxmrbochdbk_43WypBykXI_HHNZTi9BDFz4rGjxloWdCAMrb65tktJtdL9DN2l7VMxaiIbeHUuY7FE9r89/s1600/logan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="970" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFpYNDQhdjT2J80EP7B8kqfzNxPMJwR22UY-oPXxQ4s02_0dgEhHaE1v6Wsjlxmrbochdbk_43WypBykXI_HHNZTi9BDFz4rGjxloWdCAMrb65tktJtdL9DN2l7VMxaiIbeHUuY7FE9r89/s320/logan.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">There are several touching and also shocking moments in </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Logan</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, but I’m going to pick the opening scene. Logan, drunk and
tired-looking, wakes up to a group of thugs attempting to steal parts from his
car. He tries to speak to them but they shoot him. Of course, he gets back up
and those claws come out like we’ve seen so many times before. But it’s nothing
like we’ve ever seen before. He tears them apart – literally, limbs are torn
off – and we’re treated to claws piercing skulls and graphic sounds of blood
squirting.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHGSYo463vVUUzW2wBSN5T_zqf12zsWs1TPF4WArQ2jE5z_LBv-lWnu59KMApq8ezSqdVI8W69Tc1MJIPVC_upUmBdLyagydrZqX_E_2w0uM_oazhXXTWIxFuIeIVfJO24aE-RucimEyGj/s1600/lastjedi.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="365" data-original-width="648" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHGSYo463vVUUzW2wBSN5T_zqf12zsWs1TPF4WArQ2jE5z_LBv-lWnu59KMApq8ezSqdVI8W69Tc1MJIPVC_upUmBdLyagydrZqX_E_2w0uM_oazhXXTWIxFuIeIVfJO24aE-RucimEyGj/s320/lastjedi.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">There were many moments I particularly enjoyed in The Last Jedi, from the
opening bombing sequence to the battle of Crait, but my favourite has to be the
fight in Snoke’s throne room where Rey and Kylo fight the Praetorian Guards. Against
a crimson red backdrop reminiscent of Kurosawa’s </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Kagemusha</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, Rey and Kylo, on the same side and standing back to back,
engage in a gorgeously choreographed battle ending with Kylo using Rey’s lightsaber
to burning a hole through the head of one of the guards.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbBxxrZ-UKJDvQKzitTKeQRFL46y4OVO_p50_bu8p1_a1ypNT4sORsEtvdUreTMPGyZ6Bs3Q5S4mFpaBKLvuMyKOJ6eKrZ_LkDwN6M0iXvtrvfFWKXXsxXEqoANXtEvJyClPb-kjnJxIk/s1600/wonderwoman.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="600" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbBxxrZ-UKJDvQKzitTKeQRFL46y4OVO_p50_bu8p1_a1ypNT4sORsEtvdUreTMPGyZ6Bs3Q5S4mFpaBKLvuMyKOJ6eKrZ_LkDwN6M0iXvtrvfFWKXXsxXEqoANXtEvJyClPb-kjnJxIk/s320/wonderwoman.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">“This is no man’s land. It means no one can cross it”, explains Steve Trevor. The
battalion has been there for a year and they’ve barely moved an inch. “We
can’t save everyone in this war”, he tells her. But of course, that’s not
Diana. In a surprisingly moving moment, she throws off her jacket and storms
across no man's land. The music soars as she defects bullets in slow motion, and the rest of the soldiers start to
follow. It’s the birth of Wonder Woman.</span></div>
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9. I, Tonya: Did You Do It?</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfv0q0sYmU_jxZb-Y8iPqqw5zoz34Z6jBjQPHJTccRelwWh0P2LSUWoVLx1uRIYlCOJaHrUN_YZWvjVuUgbOLUPEn4chzBrP-V37h3CPcHPapNrtabTKSE5yQJUYREmrwBlU_2lKd5orXw/s1600/itonya.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="267" data-original-width="474" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfv0q0sYmU_jxZb-Y8iPqqw5zoz34Z6jBjQPHJTccRelwWh0P2LSUWoVLx1uRIYlCOJaHrUN_YZWvjVuUgbOLUPEn4chzBrP-V37h3CPcHPapNrtabTKSE5yQJUYREmrwBlU_2lKd5orXw/s320/itonya.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">We’ve been watching Tonya Harding go through shitstorm after shitstorm, so when
her abusive mother, who has never shown an ounce of anything resembling love
towards her daughter, comes knocking on her door offering a hug while the press
have surrounded her home, we’re genuinely moved. “</span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Did you do it?</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">” she asks just as she’s leaving. Our hearts drop as
she reveals the tape recorder strapped to her. It’s the moment you realise it
really is her vs the world.</span></div>
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8. Dunkirk: Gliding Spitfire</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWc38Dt_jnpG38ZOHInVCW08dQzh200KhyphenhyphenaA4Y5PbRerjvdb551FAd05kcChC7Zs2MmWOgerlVL7C1qMKTE6dkL9_eM6RmqyAis3T5xN0C6ogI75ussnQuUOR2ch-VQ2l_469J7NlHc81Z/s1600/dunkirk.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="274" data-original-width="564" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWc38Dt_jnpG38ZOHInVCW08dQzh200KhyphenhyphenaA4Y5PbRerjvdb551FAd05kcChC7Zs2MmWOgerlVL7C1qMKTE6dkL9_eM6RmqyAis3T5xN0C6ogI75ussnQuUOR2ch-VQ2l_469J7NlHc81Z/s320/dunkirk.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">In one of the film’s most moving moments, Farrier’s (played by Tom Hardy) spitfire
runs out of fuel and floats across the sky waiting for the engine to give out. Down
below the soldiers are ecstatic as the evacuation has begun. Then everyone’s
joy turns to dread as a German plane descends on them. But Farrier isn’t done
yet. He shoots the plane down with the last of his ammunition and cheers erupt.
He glides across the beach, window open and propellers still, until he is inevitably
captured.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>7. Blade Runner 2049: Casino Fight </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKApHV8WBti-rovpG5p0OHNwq2xEeCccKLPUcHTZ37NtF0JZKMO5lZETsbONdUydnobT3anBRvTI7kKTZ_JFivb4HqmfKtrQf8swGYUB6JwGgMqsNGsnNKCViyLh4pQpgxmyoaBKNgTaBP/s1600/bladerunner.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="300" data-original-width="494" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKApHV8WBti-rovpG5p0OHNwq2xEeCccKLPUcHTZ37NtF0JZKMO5lZETsbONdUydnobT3anBRvTI7kKTZ_JFivb4HqmfKtrQf8swGYUB6JwGgMqsNGsnNKCViyLh4pQpgxmyoaBKNgTaBP/s320/bladerunner.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Blade Runner 2049 is filled with iconic shots, but my favourite scene is the
fight between K and Deckard in the abandoned casino. They throw punches at each
other (actually it’s pretty one-sided) surrounded by flashing strobe lights and
glitchy holograms of Elvis and bright yellow feather-costumed dancers. It’s a strange and
beautiful scene.</span></div>
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6. Baby Driver: Opening</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiknuPm_P7yNQ_4HqZU2u5nzUDtwIfyTrx59_DyANYQoWmPI34mfeIV33lY6CU5khBQxhpqwR0JCUcjXP6XMHp5ky95ZgR6h_wtr6_G2S7WSX4WtQihxFJXfQZdmyR1iw4lEDfTHzNTcIt-/s1600/babydriver.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="780" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiknuPm_P7yNQ_4HqZU2u5nzUDtwIfyTrx59_DyANYQoWmPI34mfeIV33lY6CU5khBQxhpqwR0JCUcjXP6XMHp5ky95ZgR6h_wtr6_G2S7WSX4WtQihxFJXfQZdmyR1iw4lEDfTHzNTcIt-/s320/babydriver.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">The final third of </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Baby Driver</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"> got a
little out of hand, but it boasts the best opening sequence of 2017. Baby
boogies to </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Bellbottoms</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"> while the rest
of his crew rob a bank. It’s followed by a thrilling car chase sequence, introducing
us to the world of the world of </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Baby
Driver</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"> with a bang. The opening sequence that follows of Baby walking
through the city and grabbing a coffee, perfectly in sync with </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Harlem Shuffle</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, is pretty amazing too.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGKUt3xn4oH5FDgEBKITKPDlevXs1GX2yPQpRkAelVoFf0YiIpYb-rWgBmF_LrnjsCw5E_cp5_9pOxpxJetKMf3iC3lBYapgeC7kFMeq2XelOxD1bjF-50dzp7Jp_-AGkFqZ2HPf72WBa/s1600/personalshopper.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="338" data-original-width="600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGKUt3xn4oH5FDgEBKITKPDlevXs1GX2yPQpRkAelVoFf0YiIpYb-rWgBmF_LrnjsCw5E_cp5_9pOxpxJetKMf3iC3lBYapgeC7kFMeq2XelOxD1bjF-50dzp7Jp_-AGkFqZ2HPf72WBa/s320/personalshopper.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Who knew text messaging could be so thrilling? As Maureen boards the Eurostar from
Paris to London, she starts receiving mysterious texts from an unknown sender
and the conversation continuing throughout the entire journey. The sender knows
she’s going to London, so she has cause to be alarmed. The film has already
established that ghosts are a thing, so it </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">could</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">
be her dead brother. Watching her hesitate to press send and stare at the “…” in
anticipation while the sender types, we're completely engrossed as we don’t know what
to expect.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIaG7rXUSS8ZddeG_b6k3FMlmxyiK-Y1e-rR0y95q5lsFosGsBmJVi9HbQnxPdUP0VKSfAaQ8Egehy1RMIF1h40vvZqQ5Q9YCfkKkcKO7_yELlMt4qBJ-izNoj8fky-nmL4Neo7mRQoVse/s1600/ghoststory.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="620" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIaG7rXUSS8ZddeG_b6k3FMlmxyiK-Y1e-rR0y95q5lsFosGsBmJVi9HbQnxPdUP0VKSfAaQ8Egehy1RMIF1h40vvZqQ5Q9YCfkKkcKO7_yELlMt4qBJ-izNoj8fky-nmL4Neo7mRQoVse/s320/ghoststory.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">In a film full of beautiful moments, one that stands out is the scene where
Rooney Mara’s character listens to </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">I Get
Overwhelmed</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, the song her husband had written for her. The scene flashes
back and forth from she first hears it to her listening to it now, laying on
the floor alone. She almost touches the bed sheet of her husband’s ghost
standing there right behind her. I quite like the song itself, and I found this
to be a beautiful sequence connecting past and present, dead and alive.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>3. The Florida Project: Ending</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX8KNnZjMTtFFsFaq747kuSMCjM_nVfT0T86pf2C_Q20jIWEVF8jcW8PVG44OeQVfq5TlBPv0girteNB3QKa9aYpOx0_lYrUXaBO9iVYxXe1UYc3Ai2Kbw76LtBMl2uDcQHiJ5Gs2274rB/s1600/floridaproject.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="327" data-original-width="653" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX8KNnZjMTtFFsFaq747kuSMCjM_nVfT0T86pf2C_Q20jIWEVF8jcW8PVG44OeQVfq5TlBPv0girteNB3QKa9aYpOx0_lYrUXaBO9iVYxXe1UYc3Ai2Kbw76LtBMl2uDcQHiJ5Gs2274rB/s320/floridaproject.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">As Moonee goes about her day, she’s suddenly thrown into a chaotic situation
which rapidly escalates. She’s about to be taken away from her mother and of
course she doesn’t understand why. Desperate, she runs to her friend’s
apartment to say goodbye and for the first time, she struggles to find the
words and breaks down in tears. Then, her friend grabs her hand and together they
run, run, run until they are in the heart of Disneyland. I already commented on
the similarity it shares with </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">The 400
Blows</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"> in my previous post. It’s a magical moment which also broke my heart.
Shot on an iPhone like in </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Tangerine</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, you
could even interpret it as a dream sequence that never really happened.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b><span style="mso-spacerun: yes;"> </span>2. Get Out: The
Sunken Place</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr48uhDKsQkLGWWL1mMU47R3rpHbt3gR603zWGUYQJVwRUv06Z19LdUatj8sfrw5Wi86fyCpG-4T0fU3BXrLMXz6itd_plxOtAabDA5GJxZVZE0NeajCzYcpP0tnATnP4Vle-zBaqhtAA_/s1600/getout.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="331" data-original-width="605" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr48uhDKsQkLGWWL1mMU47R3rpHbt3gR603zWGUYQJVwRUv06Z19LdUatj8sfrw5Wi86fyCpG-4T0fU3BXrLMXz6itd_plxOtAabDA5GJxZVZE0NeajCzYcpP0tnATnP4Vle-zBaqhtAA_/s320/getout.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">In my previous post I said that Get Out was the most iconic film of 2017. Well,
this scene is the most iconic scene of 2017. Rose’s mother lures Chris into
hypnosis with the soothing sound of her voice and the gentle tinkling of a teaspoon
against a teacup while under the guise of helping him quit smoking. She
subjugates him, sending him to the </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">sunken
place</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">. It’s more terrifying than any ghost or monster I’ve ever seen. I’m
going to cheat and include the film’s ending as one of my favourite moments as
well. After surviving a barrage of attacks, Chris thinks it’s finally over as
he lies collapsed on the street. Just then, a police car approaches and we’re
all thinking the same thing. Until we find that it’s Rod, Chris’ best friend.
It’s a clever scene which subverts out expectations.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>1. Call Me By Your Name: Speech</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5A1P9-jhPYT1zQvO2c_bR7a4GZhZYobx-c4JSFI34ObxtGy_WyrCYYdHuTdn6nRxC6unuOG0yWgkZhwjzRE5f1NcuvNNWXgFj45rTJ4comOfNHoW8mK-U5mSDQMKzW-3dj7POOHbusZI1/s1600/callmebyyourname.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="389" data-original-width="720" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5A1P9-jhPYT1zQvO2c_bR7a4GZhZYobx-c4JSFI34ObxtGy_WyrCYYdHuTdn6nRxC6unuOG0yWgkZhwjzRE5f1NcuvNNWXgFj45rTJ4comOfNHoW8mK-U5mSDQMKzW-3dj7POOHbusZI1/s320/callmebyyourname.jpg" width="320" /></a></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">I’m going to cheat again and include 2 moments from </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Call Me By Your Name</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">, my favourite 2017 film. The first is when
Elio’s father, played by Michael Stuhlbarg, gives the monologue all parents
should print out and memorise. Heartbroken after having said goodbye to Oliver,
his father sees Elio’s pain and gives a moving speech about being open,
treasuring love if you are lucky enough to find it, and to embrace the sorrow
that comes with it. The other moment is the final shot of the film when Elio,
after learning via a telephone call from Oliver that he is getting married,
sits by the fire and stares into it, just…</span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">feeling</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">.
His parents are in the background setting the table, letting him be. There are
no words, we just watch his face as he goes through a million emotions while
the end credits roll to Sufjan Stevens’ </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Visions
of Gideon</i><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">. Left me stunned in my seat.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Honourable mention: every scene in <i style="mso-bidi-font-style: normal;">Mother!</i></span><o:p></o:p></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-71290773128236660562018-03-01T11:26:00.000-08:002018-03-01T12:11:59.661-08:00Top 10 Films of 2017<br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Last year I gave up, but this year I’ve mustered up the
energy to squeeze in as many 2017 films as I can before the Oscars, which is
pretty tricky when you live here. I haven’t been able to see as many animations
or foreign language films as I would have liked to, but I’m pretty happy with
my list. So without further ado, here is my top 10:<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">No spoilers!</span><br />
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<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>10. Brigsby Bear</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBlbObMEw50d_AY_Pb4CIGwWsQpNcLu06D1W5vU-ktkhJX2hjXA_Mik_qDA5-fMo999ooPLJ7NtbGozsSLQNL0HicAbJjUmEdBx_2TwlYm4cZvVrxcQP0d3E1DDufcF0ZcbF8hJhTlLv5P/s1600/brigsby_bear.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1183" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBlbObMEw50d_AY_Pb4CIGwWsQpNcLu06D1W5vU-ktkhJX2hjXA_Mik_qDA5-fMo999ooPLJ7NtbGozsSLQNL0HicAbJjUmEdBx_2TwlYm4cZvVrxcQP0d3E1DDufcF0ZcbF8hJhTlLv5P/s320/brigsby_bear.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;">This
was a weird but wonderful little gem that should be a treat for anyone
who loves films, or being creative in general. It’s hard to describe the plot
without giving too much away, and I think the less you know, the better the
experience will be. James is a young man obsessed with a kids’ TV show starring
Brigsby the bear. Brigsby posters fill every inch of his room, and he records
himself giving his latest Brigsby theories after each new episode. But isn’t
James a little too old to be obsessed with this kind of thing? What’s going on?
The lead character is sympathetic and kooky in an authentic way, and the film
goes down its own unique, unpredictable path with confidence. A highly original
film, funny with a tinge of sadness and a surprising amount of heart.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><b>9. Good Time</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2GjsXC3XxyVMGN_8-dgVZ5tme3pE59CB5Ia4taKdcGmJV1eTwZ8GscLVextuCHJabQj8DG5bjueeLlRiQ7h9oF6pmg0cHzgXEt9rwxY2sq3MrKiiKxbuBtZ7np87KPICB45SvT0r8-fDe/s1600/good_time.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2GjsXC3XxyVMGN_8-dgVZ5tme3pE59CB5Ia4taKdcGmJV1eTwZ8GscLVextuCHJabQj8DG5bjueeLlRiQ7h9oF6pmg0cHzgXEt9rwxY2sq3MrKiiKxbuBtZ7np87KPICB45SvT0r8-fDe/s320/good_time.jpeg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><i><span style="line-height: 107%;">Good
Time</span></i><span style="line-height: 107%;"> is a
high-energy urban noir film which makes you feel like you’re right in the
middle of the action on the gritty, neon-lit streets of New York City, close up
in the face of Connie Niklas, our highly incompetent protagonist who hastily
drags you from one bad idea to the next as he tries to rescue his brother who
is in prison after a heist gone wrong. The heist takes place at the beginning
of the film, and the rest of the story takes place more or less over the course
of a single night. It’s shot on 35mm film with a deliberate rough texture,
punctured by quick camera movements and a pulsating score – all which add to
the sense of panic and claustrophobia. So if that’s your idea of a good time,
you’ll love this film. Robert Pattinson completely loses himself in the role of
Connie, giving us the best performance of his career so far.</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><b>8. Three Billboards Outside Ebbing, Missouri</b></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRCI-HiBJZvIen1JLete3PFZ9T0M3PykPxhNJwcuj0mZHnYjpVkRv102u2OWhPaj5xsw1BcG9iQAY5kQzsCMDMRa2hbGtj3ygRRw82xGxBnvU6kpCoNOjE-nIagNBftFJm91OYT8x94hOm/s1600/three_billboards.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="960" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRCI-HiBJZvIen1JLete3PFZ9T0M3PykPxhNJwcuj0mZHnYjpVkRv102u2OWhPaj5xsw1BcG9iQAY5kQzsCMDMRa2hbGtj3ygRRw82xGxBnvU6kpCoNOjE-nIagNBftFJm91OYT8x94hOm/s320/three_billboards.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">It’s
been 7 months since Mildred’s daughter was brutally raped and murdered, and the
local police - “too busy torturing black folks” - have made no progress in their
investigation. One day she comes across 3 empty billboards and decides to take
matters into her own hands. The film is about anger and revenge, as well as
finding peace in this cruel world. It feels like the most fully fleshed-out of
Martin McDonagh’s three films with his trademark foul-mouthed, razor-sharp
dialogue on full display. Somehow he manages to balance the dark subject
matters with humour, and shows that no one is simply good or bad, that everyone
has their demons. Frances McDormand is fantastic, making you feel the grief
that is eating her up under her deadpan delivery, saying so much with few
words. Wearing a jumpsuit, a bandana and accompanied by a spaghetti western
soundtrack, this is a woman at war.</span></span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>7. Personal Shopper</b></span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbTmvSZNwLsOkaHsL_zm9T8BRiKNS-kVvjVh-FBPKAPOIvcicIqW9QfnZgc4Mr0N3VJgbBkNr9whIsvTFE2CWpBAG1wABjo6imU76A2Mcu2Qq8XObYtMDsFn9AxACjJAknvYQPZ9MvoQz/s1600/personal_shopper.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzbTmvSZNwLsOkaHsL_zm9T8BRiKNS-kVvjVh-FBPKAPOIvcicIqW9QfnZgc4Mr0N3VJgbBkNr9whIsvTFE2CWpBAG1wABjo6imU76A2Mcu2Qq8XObYtMDsFn9AxACjJAknvYQPZ9MvoQz/s320/personal_shopper.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">Olivier
Assayas and Kristen Stewart have teamed up again after <i>Clouds of Sils Maria</i>, my number one pick of 2015, to create a
mysterious and haunting portrait of a woman dealing with grief and loneliness.
Maureen, a bereaved spiritual medium, is in Paris trying to contact her twin
brother who recently passed away. They’d promised each other that whoever died
first would send the other a sign. She works as a personal shopper to Kyra, a
film star, picking up fancy clothes and running errands. Unlike in <i>Clouds of Sils Maria</i> where she shared
the screen with legendary Juliette Binoche, this time she carries the film on
her own, playing Maureen with subtlety and vulnerability. The camera fixates on
her as she waits for a sign from her brother who may or may not be there,
getting summoned to pick up some high end dress whenever Kyra pleases and tip-toeing
into her empty house to leave it behind without a trace, all the while
repressing her longing to try it on. At one point in the film while on a train
she starts receiving eerie text messages from an unknown number. Is it from her
brother? Is it a stalker? Is her imagination playing tricks on her? It’s a
thrilling scene in which she acts alone. An intimate and fascinating film which
has stayed with me since I saw it in early 2017.</span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>6. Blade Runner 2049</b></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXf7NdzTl264xu8LQG0KFTP6xxhmSJSVXOOOEfqhMi9w9V0d2jAblXC7_4PBv993S0VlBw5pFxj9eM-RODFccEKVB0VwVkfhv9hGGjDBeNtadpsILHGFhDp9RIU8dy1STwg99i-2msCOTH/s1600/blade_runner_2049.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXf7NdzTl264xu8LQG0KFTP6xxhmSJSVXOOOEfqhMi9w9V0d2jAblXC7_4PBv993S0VlBw5pFxj9eM-RODFccEKVB0VwVkfhv9hGGjDBeNtadpsILHGFhDp9RIU8dy1STwg99i-2msCOTH/s320/blade_runner_2049.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">30
years after the original <i>Blade Runner</i>
the world is even more bleak, devastated by industrialisation and environmental
collapse. The streets are overcrowded with people wearing masks because the air
has become so polluted. Our protagonist, Officer K (and later, Joe) – a
reference to Kafka’s <i>The Trial </i>– is a
lonesome hero who belongs nowhere. The film honours the original, expanding on
its themes of what it means to be human and the significance of memories, as
well as introducing entirely new ideas of artificial intelligence that are
relevant today. The film is a breathtaking work of art – with legendary
cinematographer Roger Deakins at the helm - that really takes its time to soak
into its visuals. It’s kind of a miracle that this film exists at all. There
are so many iconic shots, from rain-soaked rooftops to dusty orange landscapes.
Like in <i>Arrival</i> which was one of my
favourite films last year, Denis Villeneuve is able to bring a sense of deep
emotional truth to the visual spectacle, making this one of my favourite Sci-Fi
films ever.</span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>5. I, Tonya</b></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR6NAUyBl9xUfYfDXSvl3V7C3cxkSmpw4wqsEP-oWQ6jkSRFZQQ5iDSxGIgaV7qHM85jadnkRv3Ttkjswpv2Vdy4LhrazAGuj88jptdqtU4J2BieNAkDTe17PxkhYkmRNE-GlxhZyrorEg/s1600/i_tonya.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="464" data-original-width="750" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR6NAUyBl9xUfYfDXSvl3V7C3cxkSmpw4wqsEP-oWQ6jkSRFZQQ5iDSxGIgaV7qHM85jadnkRv3Ttkjswpv2Vdy4LhrazAGuj88jptdqtU4J2BieNAkDTe17PxkhYkmRNE-GlxhZyrorEg/s320/i_tonya.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><i><span style="line-height: 107%;">I,
Tonya</span></i><span style="line-height: 107%;"> is an
unusual biopic based on multiple accounts of events that often conflict with
each other. Uninterested in the one and only truth, it becomes an entertaining
portrait of Tonya Harding which somehow manages to balance its dark themes of
domestic violence with its lighter tones. Characters break the fourth wall for
both comedic effect, and also during its toughest scenes to challenge us
directly: what do YOU think? While the film depicts its many points of views
and doesn’t ask us to take sides, it clearly has a soft spot for Tonya and we
root for her as we watch her unable to escape the onslaught of violence, classism
and tabloid frenzy, and yet refuse to see herself as a victim. The film is both
funny and tragic, and also shows ice skating in a dramatic, up and close way
that we don’t normally get to see. But even if you have no interest in ice
skating or have never heard of Tonya Harding before, the film is a thoroughly
entertaining ride with excellent performances by Margot Robbie and Alison
Janney.</span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>4. The Florida Project</b></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16qWuMIxsv7Yo6eGwx6VOXlrS7QpxPHTCy417J-z-HK3E2lKGePUPyKYqAdYreJ5OAXGoh6FP_0ojW7OhHmQFfz7hpR-p062rQs1eEEekras47LvEookw-W8yIOqiPUppba0o80smATx0/s1600/the_florida_project.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="710" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16qWuMIxsv7Yo6eGwx6VOXlrS7QpxPHTCy417J-z-HK3E2lKGePUPyKYqAdYreJ5OAXGoh6FP_0ojW7OhHmQFfz7hpR-p062rQs1eEEekras47LvEookw-W8yIOqiPUppba0o80smATx0/s320/the_florida_project.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">While
his previous film <i>Tangerine</i> (in my
top 10 of 2015) told the story of transgender sex workers in Los Angeles, <i>The Florida Project</i> explores a community
struggling to make ends meets, living in extended stay motels just outside the
boundaries of the most magical place in the world. Like <i>Tangerine</i> this film is vivid and dripping with sun. But unlike <i>Tangerine</i>, here there is no narrative at
all. We spend time with a group of kids led by Moonee during their summer
holiday, running riot and mostly getting up to no good. They don’t need any
Disneyland; to them, this poverty-stricken area is paradise. The film is
heartbreaking and tragic, but there is also so much joy. Halley isn’t a great
mother, but you can clearly see the love that she and Moonee share. It reaches
an emotional climax towards the end (one of my top film moments of the year),
and then closes with a scene reminiscent of the ending to <i>The 400 Blows</i>. Like Truffaut, Sean Baker is a humanist who finds
beauty in the little details of people’s lives. He manages to draw out a
stunning performance from then-6 year old Brooklynn Prince, who hilariously
owns all of her R-rated dialogue. Willem Dafoe, who plays Bobby the motel
manager who looks out for Moonee and co, is the only seasoned actor in the film
and blends in just perfectly.</span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>3. A Ghost Story</b></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgXq0WcQ4KQzH5KHnF-Jg4-SuTzOzI0zC6xWtis49AoSgthd7VpNwqByxH_JsHrdAybEKVi896g0PE6ZEq6V3C-Tvo92R7KlMEsZngFIxPAlhAjoGuRGUbc4bl8v10Lrmx4fZalUghtuM/s1600/a_ghost_story.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="474" data-original-width="710" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgXq0WcQ4KQzH5KHnF-Jg4-SuTzOzI0zC6xWtis49AoSgthd7VpNwqByxH_JsHrdAybEKVi896g0PE6ZEq6V3C-Tvo92R7KlMEsZngFIxPAlhAjoGuRGUbc4bl8v10Lrmx4fZalUghtuM/s320/a_ghost_story.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><i><span style="line-height: 107%;">A
Ghost Story</span></i><span style="line-height: 107%;"> is unlike
any film I’ve ever seen and difficult to describe without sounding a bit silly.
The protagonist is a (dead) man covered in a white sheet with eye holes
designed to look like a child’s ghost costume for Halloween… Just as I was
beginning to think it was ridiculous, it turned into a beautiful and profound
experience that has stayed with me since. The title is somewhat misleading; it’s
not so much a ghost story as it is a story with a ghost in it. It’s about life,
death, love, loss, time, fear of change… With minimal dialogue and no facial
expressions for us to deduce, it relies on its haunting soundtrack to convey
the ghost’s lonely emotions.</span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>2. Get Out</b></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9VAhTdTnm-3ZrOEfsu9Pck7By9sHquNESkOxHxG_FtvDVvd_bXE5zdejoAnkjOn1rjuW1Uiq7O2oHKmUKYCOmxvQ1YnIf50SzjaP2RHyrgxDNjV-g5UkC_zKQWOTz7Z6VFgwm5DEVXJMM/s1600/get_out.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="254" data-original-width="452" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9VAhTdTnm-3ZrOEfsu9Pck7By9sHquNESkOxHxG_FtvDVvd_bXE5zdejoAnkjOn1rjuW1Uiq7O2oHKmUKYCOmxvQ1YnIf50SzjaP2RHyrgxDNjV-g5UkC_zKQWOTz7Z6VFgwm5DEVXJMM/s320/get_out.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">THE
defining film of 2017, <i>Get Out</i> was
released in early 2017 and the hype never died down. Jordan Peele uses the
story of a black man meeting his girlfriend’s parents as a platform for a
delightfully clever satire on race relations in the United States, but it’s
also a hilarious, thrilling and terrifying mishmash that bends the rules of
genre. As soon as Chris (a brilliantly nuanced performance by Daniel Kaluuya)
and Rose arrive at the house, something is clearly off. The parents seem nice
but…<i>too</i> nice. Something is wrong with
the housekeeper but we aren’t sure what. When you finally get the twist, from there
on it’s pure entertainment that never gets out of hand the way many films do,
culminating in a brilliant ending. It’s scary, funny, and says something
important in a truly unique way.</span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><b>1. Call Me By Your Name</b></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><br /></span></span></span></span></span></span></span></span></span></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1lJNI_nrgGeTBGwdZl1kl1Pi4CreS7QJnM_AO1a0FoWLWt3ugNbapzizQENF9wPRtOphiFj6AmgKbcC5Fo2QtTeVfjg1lcQXXrw-GwezbANSICqz1hziCl-ceinE98MacN_I18stjQSx/s1600/call_me_by_your_name.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1lJNI_nrgGeTBGwdZl1kl1Pi4CreS7QJnM_AO1a0FoWLWt3ugNbapzizQENF9wPRtOphiFj6AmgKbcC5Fo2QtTeVfjg1lcQXXrw-GwezbANSICqz1hziCl-ceinE98MacN_I18stjQSx/s320/call_me_by_your_name.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;"><span style="line-height: 107%;">It’s the
summer of 1983, “somewhere in northern Italy”. 17 year old Elio is staying at
his family’s summer home with his academic parents. Every summer they host a
graduate student who assists Elio’s father on his research; this year it’s Oliver,
a 24 year old American who exudes effortless charm and leaves the room with a
breezy “<i>later!</i>” His confidence and openness fascinates Elio and takes over his
life. Elio is himself open and free, raised by his parents to explore life and
discover its fruit as he pleases. He’s well-versed in literature and transcribes
classical music, but he’s convinced he doesn’t know anything. They spend their
days in lush, sun-drenched gardens, lounging by the pool discussing art and
plucking peaches from the trees. It’s summertime and there’s no hurry to get
anywhere. Elio and Oliver have instant chemistry though they’re hesitant to
admit it at first. Oliver asks Elio to play something on the piano, but Elio
won’t play it the way he wants him to. Without realising it, they’re flirting. All
these little details build up to the moment when they finally consummate their
love, and it makes you hold your breath. And with it there’s a sadness as we
know it can’t last. It’s been there from the moment he arrived, in the unspoken
words, the rustling leaves and spaces between them that the camera lingers on. The
film is a pure and sensual masterpiece accompanied by a beautiful soundtrack. I
only need to hear the first couple of seconds of Sufjan Stevens’ <i>Mystery of Love</i> or <i>Visions of Gideon</i> to start welling up. Michael Stuhlbarg, who plays
Elio’s father, gives a powerful speech towards the end of the film which destroyed
me. And the final shot! Timothée Chalamet should win all the awards for that
scene alone. He gives a tour-de-force performance, switching from child-like
and playful to wise beyond his years as smoothly as he transitions from French
to English to Italian. It’s the most romantic film I’ve seen in recent years,
and will resonate with anyone who’s ever been in love.</span></span></span></span></span></span></span></span></span></span></span>Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-91715815471495636142016-02-21T04:05:00.001-08:002016-02-22T04:40:08.130-08:00Top 15 films of 2015<div class="MsoNormal">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I’ve had so
much free time since October so I’m catching up on 2015 films just before the
Oscars. It’s been a challenge because Spanish cinemas dub everything. Anyway, here’s
my top 15. I haven’t included films which were nominated for last year’s
awards.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Spoiler-free.<br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">15. Wild
Tales (dir. </span></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="background-color: white; font-family: "arial" , sans-serif; line-height: 18.2px;"><b>Damián Szifron</b></span><b>)</b></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This film is
made of 6 short stories which aren’t linked at all except for their overall
theme of how humans behave in extreme situations. The first one is so surreal
and funny, cut to open credits and you know you’re in for a good ride! Some of
the segments are quite dark and a little scary in the sense that it feels like
it could happen to people around you. Six fun stories for the price of one!</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">14. Miss Hokusai (dir. Keiichi Hara)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I don’t
normally watch animated films unless I know they’re good, but this one
surprised me. It’s told from the viewpoint of Hokusai’s daughter, O-Ei, who is
also a talented painter. There isn’t much of a big story, and it feels more
like a glimpse into their lives. There are many haunting moments, some beautiful
imagery, and I think I remember liking the music too for the most part. Really
pretty. The Japanese Edo period comes alive.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">13. Pawn Sacrifice (dir. Edward Zwick)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Based on the
true story of American chess prodigy Bobby Fischer, set during the Cold War. We
see him take on the Soviet Empire as well as struggle against his own mental
illness, with the whole world watching. I’m not particularly interested in
chess, but I still found this to be really enjoyable. Some reviewers are saying
that the documentary <i>Bobby Fischer
Against the World</i> is far superior, which is true in the sense that it’s
more historical accurate and there’s more depth, but this film is worth seeing
for Tobey Maguire’s captivating performance as an eccentric, paranoid, sad but also
charming Bobby Fischer. The ending comes somewhat suddenly and the story of his
later life is explained in the form of text, and I can’t help but feel that
there was plenty more interesting story to be told, but perhaps the tone would
have shifted too much. For the full experience, see the film and the 2011
documentary, but as a work of fiction based on true events, this was plenty
enjoyable.<o:p></o:p></span></div>
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12. Phoenix (dir. Christian Petzold)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This is a
really dark, haunting film about identity, denial, loss, and searching for answers
in the post-war era. Nina is a concentration camp survivor, but has been
heavily disfigured. She undergoes facial reconstruction surgery and asks the
surgeon to give her back the face she used to have. Then she goes on a
desperate search for her husband. She finds him, but what awaits her is more
and more heartbreak. It’s really gripping, right until the end credits,
stylishly shot but the symbolism is subtle and not in your face. The acting is
really great too. I saw this just once way back in the summer but it was such a
powerful film, it still resonates with me.</span></div>
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11. Room (dir. Lenny Abrahamson)</b></span><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I wasn’t sure
whether to add this to the list or not, because I never want to watch it again.
Well, not anytime soon anyway. It’s a harrowing story that was painful to watch,
but it also explores the great, loving bond between this mother and her son. It’s
a film that I’m really glad I watched, and if you haven’t seen it, you
definitely should. I won’t say what this film is about; the less you know
before seeing it, the better I think. It’s a raw, emotional experience I’ll
never forget. Brie Larson is fantastic as the mother, and the 9 year old Jacob
Tremblay was even better as little Jack. He must’ve been like…8 or even 7
during filming? Wow. It’s the best child performance I’ve ever seen. Credit to
director Lenny Abrahamson too, for getting such an amazing performance out of a
child. He directed </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Frank</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> from last
year, a film I really enjoyed as well.</span></div>
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10. Taxi Tehran (dir. Jafar Panahi)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 2010 Jafar
Panahi was charged with propaganda and banned from making films for at least a
decade. I’d seen some of his most famous films before, like </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Crimson Gold</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> and </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The White Balloon</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, but was unaware of the more recent happenings
until I accidentally stumbled across his latest film </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Taxi Tehran</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. This is actually his third ‘film’ since his ban. The
first one being a documentary filmed on an iPhone when he was under house arrest,
called </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This Is Not a Film</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. I need to
check these out. Anyway, in </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Taxi</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">,
Jafar Panahi poses as a taxi driver and has unknown actors play various
passengers. Each passenger’s story paints a little picture of what life is like
in Iran, and some of them give full-on speeches about topics such as the criminal
justice system, and talk about how such views would be banned by the Iranian
government if they were to ever put it into a film (ha). The director’s actual
niece plays his niece, who has been assigned by her school to make a film as
homework, but has been given a list of detailed instructions on what she isn’t allowed
to include. It’s all very in-the-face, but also very entertaining. Some of the
things that happen and the things they talk about are really humorous and
enjoyable. Despite the cameras never leaving the taxi and the film being a
series of passengers, it feels quite fleshed out. The director’s courage and reluctance
to give up making films in itself makes this film precious, but it’s really
also a lot of fun.</span></div>
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9. The Revenant (dir. </span></b></span><span style="background-color: white; font-family: "arial" , sans-serif; line-height: 18.2px;"><b><span style="font-size: large;">Alejandro González Iñárritu</span></b></span><b style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><span style="font-size: large;">)</span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The
grittiness of this film takes a toll on the viewer’s mind, but in terms of filmmaking
it’s a masterpiece. It’s almost like realism in a sense, because the cast and
crew have gone through hell in actual freezing cold settings, and no artificial
light has been used (I read that the director only wanted to use real light so
they could only film an hour or two of footage per day). DiCaprio crawls
through snow and wades through rivers barely uttering a word, and the agony on
his face I’m sure is almost all real. But of course, hundreds of hours of
rehearsals have taken place, ensuring that things go to plan in those one or
two hours, and that no one gets hurt. CGI has been used sparingly for some of
the scenes involving animals. What is this called? Torturealism? I’m here under
a warm blanket but I feel like I’ve gone through this epic journey too. The
water, the snow, the wind, I can almost feel it. It’s intense, but its beauty
takes my breath away. The camera soars into the air, under water, glides
between trees, pans 360 degrees, and then even makes us look directly into
DiCaprio’s eyes at the end. It’s beautiful and it’s powerful. It makes us
understand that the greatest villain of the film is nature. It’s not the most
enjoyable film in the world, but it’s great cinema that will no doubt stand the
test of time.</span></div>
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8. Carol (dir. Todd Haynes)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cate
Blanchett puts on an exquisite performance. Every glance, every move of her fingers,
every word she says kind of floats into the air like smoke, and unlike in a
film like </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Joy</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> for example, where the
lead performance tramples all over the flimsy mess of a film, the other parts
of this film – the cinematography, the music, the framing, it all blends
together. No scene feels out of place, too long or too short, which I feel
tends to happen in films adapted from books. Credit to the screenplay. I like
the mix of things – it’s a love story, but also feels like a thriller at times,
a mystery at times. The film is called Carol, but Rooney Mara’s character is no
audience surrogate. She’s a fully formed character in her own right. Naïve but
not in the annoying sense. It always felt like these two characters were both
trying to figure out the feelings they were feeling.</span></div>
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7. Brooklyn (dir. John Crowley)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Another great
adaptation from book to screen. It’s a simple love story, but told so
beautifully. It’s sweet, pure, funny at times, and I’m reminded that films don’t
have to be complicated or have any surprises to be great. Saoirse Ronan is
fantastic. She doesn’t </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">carry</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> the
film, the film doesn’t need to be carried, but she makes it so great. Her eyes
alone convey so much that words cannot. Some people seem to disagree, but I
felt a charming chemistry between her and the actor who plays Tony. I put this
higher up on the list than </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Carol</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, the
other love story on my list, because the theme of homesickness really resonated
with me. If you’ve ever felt so miserably homesick that you feel like you have
no future, the first half of the film will remind you of that.</span></div>
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6. The Brand New Testament (dir. Jaco Van Dormael)</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">God lives in
Brussels, and he’s a dick. Everyone’s heard of his rebellious son, but no one
knows about his daughter… I loved this film! It has a dream-like feel
reminiscent of </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Amelie</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, and it’s
hilarious. In a satirical, dark sense, but also in a delightfully </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">oh wow!</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> sense. The final act was a bit
disappointing for me. It dragged on a bit, and didn’t give the film the kind of
ending it deserved. But still, it’s so high up on my list because of how
imaginative and original it is. It’s a lot of fun, has a couple of really beautiful
poetic moments, and should be enjoyed for its charm as I don’t think it’s
aiming to offend anyone.</span></div>
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5. Inside Out (dir. Pete Docter, Ronnie Del Carmen)</span></b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTLzXOgsT90o_PhyphenhyphenoBGQ8P02GYhTwf5YcOzCl17G_08T_fmPN72nu5XnG-REzVDoxeVk_jMiSZbjEieYZ4dSqtM40kfgT8hSYd7u7htFuUa5Df3bLvHPKhAMa56k8byOM9Ef5EamwMJO1/s1600/insideout.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTLzXOgsT90o_PhyphenhyphenoBGQ8P02GYhTwf5YcOzCl17G_08T_fmPN72nu5XnG-REzVDoxeVk_jMiSZbjEieYZ4dSqtM40kfgT8hSYd7u7htFuUa5Df3bLvHPKhAMa56k8byOM9Ef5EamwMJO1/s320/insideout.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I didn’t see
this film until just a couple of months ago and I really wanted to find that it
was overrated because I’m a horrible person like that, but by the time I was
halfway in I’d run out of things to mumble about and decided to give in to the
sheer awesomeness of it. </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">“That’s
definitely not how emotions work”</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">“I
moved schools like every other year and never complained”</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, and </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">“why don’t they just kill sadness?”</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">
being some of the comments I made which I now take back. All the bits inside
the mind where Joy and Sadness get lost were so clever and imaginative! The
train of thought! Urgh. And at a certain point towards the end of the film I
had to bite my lip to stop myself from shedding a single tear. It was a
surprisingly emotional journey, and it took me back to when I was a child. The
outside world and inside head stories went well together and didn’t seem out of
sync or unbalanced. I had a great time.</span></div>
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4. Tangerine (dir. Sean Baker)</span></b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZan0JDcWLcFGn6AAdqzt8vhVTv0SEq7Zx4nYgW3oODtTCJb8lDC1A_mcuAd0o17hIMR1EuQkIjhA5ITpmyv0GUiwnDoi8fRrT8pG3SJKYvnSGAniOQk7dXTf7lhjJghbomnB155y7VGQ7/s1600/tangerine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZan0JDcWLcFGn6AAdqzt8vhVTv0SEq7Zx4nYgW3oODtTCJb8lDC1A_mcuAd0o17hIMR1EuQkIjhA5ITpmyv0GUiwnDoi8fRrT8pG3SJKYvnSGAniOQk7dXTf7lhjJghbomnB155y7VGQ7/s320/tangerine.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Filmed using
iPhones, </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Tangerine</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> is about a
transgender prostitute who has just been released from prison. She finds out that
her pimp boyfriend has been cheating on her and charges through the streets of
LA to find him with her best friend on Christmas Eve. This just goes to show
you don’t need expensive cameras, fancy sets or famous actors to make a great
film. Real characters, imagination and anything with a camera in the hands of
talent is what you need. The subject matters of prostitutes and drugs don’t
particularly interest me, but it looked like a light bit of fun so I sat down
to watch it. The two female leads are so powerful and memorable, they drag you
through the colourful streets of LA and immerse you into their lives. It all
builds up to one hell of a climax, and you realise how surprisingly solid the
film was. It’s not just a comedy, it’s also a raw and touching story about
friendship and family, and it’s the warmth and love of these characters that
makes the film so great.</span></div>
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3. Ex Machina (dir. Alex Garland)</span></b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNCZZW8tyK-ml9rfOPIi75Rmi-vt6A-34fLvJ3Q6_dUR3luOkJ20qHipj9IMQ05MFvae63FVnLOskVoep8QYZE6GslU3NrVKtIRfxn6JA2xR-yCdPEXhJo0rc4RzPHHvjmrqsR2WHUSUh/s1600/exmachina.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNCZZW8tyK-ml9rfOPIi75Rmi-vt6A-34fLvJ3Q6_dUR3luOkJ20qHipj9IMQ05MFvae63FVnLOskVoep8QYZE6GslU3NrVKtIRfxn6JA2xR-yCdPEXhJo0rc4RzPHHvjmrqsR2WHUSUh/s320/exmachina.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sci-Fi isn’t
usually my cup of tea, but if it’s written by Alex Garland you know it’s going
to involve great ideas about what it is to be human, social norms and gender
roles. This was his directorial debut, and it’s amazing how masterfully he is
able to work visually. There is a sinister feeling throughout the film which
engages us for the entire time. The ominous music, the sparse use of colours,
smooth surfaces and framing of characters with lots of space all create a
claustrophobic feeling. Like Ava, the AI created by Nathan, we feel trapped
inside this building in the middle of vast forest assembled by lots of mirrors
which create an inwards depth with no way out. Lots of important and
interesting questions are asked and get us talking, which I think is also a
sign of a great film. I also really liked the conversations between Nathan and
Caleb. They use language that’s simple enough to invite us in and be enticing,
but it never feels condescending. The use of CGI is really great despite the
low budget. The film gets straight to the point and doesn’t ever lose sight of
what it set out to do.</span></div>
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2. Victoria (dir. Sebastian Schipper)</span></b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvHuC-Eo4rITylTTq7KMR_OWNOAzU0cn0uYLlGqY5cv573GYC93zI3rD3Y9zXipgoCUkCM87tl7nuSqNN4cvZFILCYIzJB7GmUw-rckVb3D5pL6EGdWD2-M1BQCSjSe8yz7cQevrHeySLS/s1600/victoria.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvHuC-Eo4rITylTTq7KMR_OWNOAzU0cn0uYLlGqY5cv573GYC93zI3rD3Y9zXipgoCUkCM87tl7nuSqNN4cvZFILCYIzJB7GmUw-rckVb3D5pL6EGdWD2-M1BQCSjSe8yz7cQevrHeySLS/s320/victoria.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Victoria, a
young Spanish woman is in Berlin for a few months. One night after clubbing she
bumps into a group of local guys who flirt with her, and she joins them for one
last beer…the film then takes us on an unexpectedly insane, intense adventure.
The entire 2 hour film was filmed in one single take! And they’re not in just a
few simple locations or anything. They cycle down roads, go up buildings, drive
around in cars…to think of all the preparation that must’ve gone in to film
this, it’s just incredible. You literally go on a journey with them, from
something like 3 or 4 in the morning until a perfectly timed sunrise. I read
that most of the dialogue was improvised, and the cameraman also had to dive
around to avoid accidentally filming other crew members etc. Not just that, but
the camera often reflects the character’s state of mind. The naturally flowing
dialogue is mostly charming and funny. They speak in English, though there is
some German spoken among the guys at times. I purposely turned the subtitles
off to try and put myself in the protagonist’s shoes, and I’m glad I did as it
felt more real and tense. It’s a really intimate, riveting experience and I’m
glad I came across this film.</span></div>
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1. Clouds of Sils Maria (dir. Olivier Assayas)</span></b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1J2XCd4C1bXMB7f_8D29_vIG3S203_urk8ifIaO1E-cczHlB18THyuEntxtgd9GESFcngqCfQ76iQ0nBuvCXDE3I4Qusgy4IHTNHxu7Hvv1jZ09fzOQYe7WFCGe-K1I-shBEy7iBzDazm/s1600/clouds.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1J2XCd4C1bXMB7f_8D29_vIG3S203_urk8ifIaO1E-cczHlB18THyuEntxtgd9GESFcngqCfQ76iQ0nBuvCXDE3I4Qusgy4IHTNHxu7Hvv1jZ09fzOQYe7WFCGe-K1I-shBEy7iBzDazm/s320/clouds.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The female
version of </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Birdman</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">! But easier to
understand. That being said I can’t really explain the film… It’s about growing
older, various approaches to acting, being ‘relevant’…but there are so many
layers to this film that it’s so much more than that. It’s a great work of art set
in beautiful locations that blurs the line between what is real and what isn’t
at times, and these moments are delightful. Art is a way to express oneself, so
really it’s relatable to anyone. Juliette Binoche is remarkable as Maria
Enders, an actress who has agreed to play the older woman in a revival of the play
that made her famous, opposite the younger character she played all those years
ago who is now being played by hip new actress Jo-Ann Ellis (Chloe Grace
Moretz) who is talented but full of scandals. Kristen Stewart holds her own
next to Binoche as her personal assistant. They recite lines together, and the
conversations they have are a joy to watch. My favourite film of 2015.</span></div>
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<o:p></o:p></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com6tag:blogger.com,1999:blog-1874763448513955622.post-23799164745301619332013-07-01T14:36:00.002-07:002016-02-21T04:21:23.825-08:00Top 5 films of 2013 so far<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">I’ve excluded <i>Side Effects</i> and <i>The Paperboy</i>
from the list since I already wrote about them earlier this year and I think <i>The
Paperboy</i> is considered a 2012 film anyway. So without further ado, my top 5
of 2013 so far (no spoilers): <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">5) Upstream Color dir. Shane Carruth</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I wouldn’t exactly say that I <i>enjoyed</i> this film (especially the first viewing) but it had my brain racing and asking questions
for its entire duration. The narrative is far from linear so if you
don’t like your mind getting f***ed then this may not be for you. That being
said, it’s not in any way an unpleasant experience; there isn’t really anything
disturbing except for the fact that you may not understand what’s going on and
that might get on your nerves. There was a sense that maybe some things were
purposely made to look more confusing then they were - I’m pretty sure the film
would have been just as compelling had they made things a bit clearer. Whatever
your level of comprehension throughout the film, the ending should be
satisfying. I’ll admit that I still don’t completely understand it, and there
is of course more than one interpretation, as there is with any piece of abstract
art. But what I can say for sure is that the central theme is that of identity
– losing it, and finding it again. Are we in control of our lives? Are we a
tiny little part of a much larger something? It’s not like anything I’ve ever
experienced before and I highly recommend it if you’re looking for something
new.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">4) Dans la maison (In the House) dir. <span style="background: white; color: windowtext; text-decoration: none; text-underline: none;">François Ozon</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1CvA2gnN9y5nOW5oQ9fo9JIkZ-qwv56QJtJRbIQn7YBOKqDpe2PL5jV2rLGtwi_DLxj3bi6Ze_NfZuX6I3cE5N4zVHxswA3bIQukCHLu0pkAy6Rjyf0sSi1ZaovdkdevINlCF5hbboME/s1600/dans.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1CvA2gnN9y5nOW5oQ9fo9JIkZ-qwv56QJtJRbIQn7YBOKqDpe2PL5jV2rLGtwi_DLxj3bi6Ze_NfZuX6I3cE5N4zVHxswA3bIQukCHLu0pkAy6Rjyf0sSi1ZaovdkdevINlCF5hbboME/s320/dans.jpg" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This film completely seduces you, much like the way the
teenage protagonist has his literature professor completely hooked with his
writing. The professor gets a little too nosy and involved, and what results is
a mysteriously riveting interfusion of fiction and reality. The initial
motivation for the protagonist is his friend’s mother – he wants to be near her,
he wants to write about her, so he spends a lot of time at this house. From
there it dives into the unpredictable and shows us the anatomy of not just the
house but the human imagination. It’s paced brilliantly, looks gorgeous, it’s
psychological but doesn’t get too dark – it’s actually quite humorous – it’s
sly, it’s clever, it’s audacious, it’s an absolutely delightful experience. Sorry,
it feels like forever ago when I saw this one so my memory is quite hazy; as
you can tell I’m waffling.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">3) Stuck in Love dir. Josh Boone</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This one’s also about writing – I’m a sucker for films about
writing! As an experience I wouldn’t say it’s superior to <i>Dans la maison</i>, but
I’m ranking this 3<sup>rd</sup> because it surprised me and I like being
surprised. In terms of realism, yes, it glamorises writing (they basically
chill out and be all artsy and somehow off-screen all the writing gets done)
and it’s a little too tidy, but given its genre I can let that slide. It’s
surprisingly authentic, it’s engaging, there’s heart and soul – it surpasses
the average romcom by a mile. As I mentioned, sure it’s not realistic, but
there’s someone you’ll most definitely be able to relate to. I found myself
genuinely caring for the characters, and as predictable it may have been, it
was so heart-warming and sweet that I didn’t care. It’s a film that makes you
want to write!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Not being biased because it's DiCaprio, but he was fantastic! From the moment he appears (about 30mins or so into the
film) he steadily guides you along for the rest of the ride – his presence is monumental,
he <i>is</i> Jay Gatsby. His delivery of dialogue, the purposeful way he says ‘old
sport’, the way he looks – I can’t imagine anyone else (haven’t seen the
Redford version – sorry!) That first half hour or so before he appears is just chaotic
though. It was all over the place, yes, illustrating the menace of the roaring
20s, but it was too much for me. You have to give Luhrmann
credit for trying – and what a bold attempt! For me it all works so well: the
colours, the music, the pace, the significance of the green light, it all on
some deep level fuses into one giant explosion. In the novel <span style="background-color: white;">Fitzgerald’s virtuoso </span>writing had created this
world too colourful and chaotic that it felt hollow, and I thought Luhrmann
managed to do a job as good with his auteurship. Amidst the disillusion that he
successfully creates, he manifests a powerful existential yearning which you
can’t help but be sucked into and moved by. Some people have accused Luhrmann
of turning it into a love story, and while I agree that some of those who
haven’t read the novel may think that way, I hope that a more unwavering viewer
would be able to see beyond the characters for what they represent. Every
single performance was fantastic in this film – even Tobey Maguire, who is
<i>supposed </i>to be an awkward and a bit of an unreliable Nick Carraway.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is, without doubt, pure brilliance. While the other
films in this post you may or may not like depending on your taste, this one I
recommend to all; if you are human you will enjoy it. It might still be showing
in some cinemas so if you see it playing, consider yourself lucky and go see
it! It’s storytelling at its best. You can tell Jeff Nichols took his time to
really map things out and develop character arcs - masterfully done. There’s a
boat stuck in a tree: we’re intrigued. So are the two young boys played
brilliantly by Tye Sheridan (the youngest kid in <i>Tree of Life</i>) and Jacob
Lofland, whose curiosity leads them to meddle with </span><span style="font-family: "arial" , "helvetica" , sans-serif;">McConaughey's </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="apple-converted-space"><span style="background: white;">character’s
affairs. By the way, when did Matthew </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">McConaughey</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> suddenly become awesome? His last few films have been brilliant, and his
performance in this film is the best by him I’ve seen. The story is as
compelling as the boat in the tree or </span><span style="font-family: "arial" , "helvetica" , sans-serif;">McConaughey's </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">mysterious character;
it’s enchanting but at the same time raw and muddy (no pun intended). It’s a
coming-of-age tale about love, family and friendship, character-driven with an
incredibly strong sense of place. Its storytelling methods are pretty
traditional, a fresh, original story written and executed so well – it’s an
absolute gem which I cannot recommend highly enough.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Like Someone In Love dir. Abbas Kiarostami</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I read somewhere that the director was in <st1:city>Tokyo</st1:city>
looking out from a car window when he got the idea for this film (or something
along those lines). Not only was the act of being in a vehicle a reoccurring motif in this multicultural film, but that’s also how this experience felt like for me: loneliness
viewed from a non-Japanese person’s POV from a couple of feet away. It takes a
look at identity and mistaken identity; communication and miscommunication, perception, judgement... In
fact it’s about a whole load of things which may not even cross your mind while
you’re watching it. There are some heartbreaking moments, most notably
during a sequence inside a taxi which takes place in the first act. Like the taxi
driver who probably gets an idea of what’s going on but can’t (or shouldn’t) intervene,
we can’t do anything about it either. People have to keep their distance – the
film is a look on intimacy and the lack of it as well. The boundary between the
viewer and camera is very clear (a lot of the things happen off screen); I
still haven’t quite figured out the reasoning behind Kiarostami’s camera angles
and POV choices, but hopefully with more thought it’ll become clearer. While the mismatch of what you see and what you hear may or may not bother you, it's an otherwise very easy-on-the-eyes elegantly shot film with an ending which has stirred up a lot of debate.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">The Place Beyond the Pines dir. <span style="background: white;">Derek Cianfrance</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZbIlOHbkzhnR7luIDid9KoWqARwdX2s4qGPenOu5Ob8oKke0o2hMPjUK_eDEKM04vacYhPlx154pI-K-AZKRuebf49mgs2UXpH0_u8bILjt8zGesFySCMObcKbcG5KaCBM-n17zQ-fdp5/s1600/pines.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZbIlOHbkzhnR7luIDid9KoWqARwdX2s4qGPenOu5Ob8oKke0o2hMPjUK_eDEKM04vacYhPlx154pI-K-AZKRuebf49mgs2UXpH0_u8bILjt8zGesFySCMObcKbcG5KaCBM-n17zQ-fdp5/s320/pines.jpg" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I appreciate what this film tries to do, and the first two
acts are brilliant - but the third disappoints. For such an intimate and
naturalistic build up, the pay off is far too unrealistic and forced - sudden
too (a certain title card), to the point that it made the overall experience
more disappointing than positive. It won't be a spoiler to tell you that basically its comprised of the stories of these two men and then their sons. I’m sure the director’s intention wasn’t for
us to find the events of the film believable; I’d say his take was a
mythological one, which would naturally involve fateful chance happenings. It
just didn’t click that way for me and it seemed like it was trying to be what
it simply wasn’t. That being said, I admire what he strove to do and I’m only
disappointed because the first two acts were <i>that</i> good (near-perfect) and
showed so much promise. The lead performances were brilliant – Ryan Gosling
fits into the role nicely and Bradley Cooper seems to be getting better and better. </span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-24663686324973448822013-03-25T15:09:00.000-07:002013-03-25T15:15:39.794-07:00The Paperboy (2012) dir. Lee Daniels<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXJSBvsYt__NjaXjOhV-zkyRIeSV_RCHHeJD01gBEFSCTN5Ll1QDRw7fcp0RsG_cRohWXHu-KFBIGcC0PNhv40DGpFFoxlPRZihXgJYGiSodHo8SpmCRmivntSJukvwLGQyg-W1Vli7tyF/s1600/The_Paperboy_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXJSBvsYt__NjaXjOhV-zkyRIeSV_RCHHeJD01gBEFSCTN5Ll1QDRw7fcp0RsG_cRohWXHu-KFBIGcC0PNhv40DGpFFoxlPRZihXgJYGiSodHo8SpmCRmivntSJukvwLGQyg-W1Vli7tyF/s400/The_Paperboy_1.jpg" width="400" /></a></div>
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<i style="font-family: Arial, Helvetica, sans-serif;">The Paperboy</i><span style="font-family: Arial, Helvetica, sans-serif;"> centres around the character of Hillary Van Wetter (John
Cusack) who is in prison, accused of committing murder. Charlotte Bless (Nicole
Kidman) who has a ‘thing’ for prison men, exchanges letters with him, and believing
he is innocent seeks help from the paperboys (newspaper journalists): Ward Jansen
(Matthew McConaughey) and Yardley (David Oyelowo), with Ward’s little brother Jack
Jansen (Zac Efron) watching through naïve goggles and often taking part in the
search for the truth. It’s narrated by Anita (Macy Gray) the Jansen family maid,
in the form of her recalling the events to another reporter, so it’s kind of
meta-journalistic. It’s not really a free-the-guilty-man story though; it’s
much more than that, with each character having their own effed up issues. The portrayals
of these issues (sex, violence, bizarreness) have been criticised (with people
saying it’s too much, too graphic, unnecessary etc), as has the fact that the
film is such a big mess with things going all over the place.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I agree it’s a mess, both content-wise and structure-wise, but I disagree
with all the criticism. I don’t think anything has been portrayed just for the
hell of it or to purposely gross us out. The common thread to their issues is
the subject of ‘repression’. Sex-obsessed (misunderstanding it for love?) </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Charlotte</st1:city><span style="font-family: Arial, Helvetica, sans-serif;"> gets a
kick out of the repressed sexual desires of prison men who express their yearnings
in letters. I don’t want to give anything about Ward’s character away but he also
faces a repression, by the time and setting (1969 Florida), and this affects the
way he views himself. Jack has an Oedipal passion for </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Charlotte</st1:city><span style="font-family: Arial, Helvetica, sans-serif;">, and his
unfulfillment despite being at a sexually ripening young age is unbearable. All
of this has been brilliantly transmitted in the form of the unbearable heat and
oozing sweat, constantly on the surface. Once things start to get unleashed,
both literally and metaphorically, drama results and truths are discovered. If
finding the true killer was the primary goal, indeed they find him, in his
truest form.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The film is extremely engaging and memorable. It’s one hell of a feast, so
if you’re a light eater don’t see it. I like feasts as long as there’s both
quantity and quality, and this film has both. It’s not superficial, it’s a
montage of human desires, repressed and liberated. It's meta-journalistic (recollection of a recollection) so structure-wise it would be a bit 'messy'. The cinematography is good, and
the performances are absolutely fantastic with all the actors very far out of their
comfort zones. Had I seen this last year (it only recently opened in </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">UK</st1:country-region><span style="font-family: Arial, Helvetica, sans-serif;"> cinemas)
it would certainly have been in my top 10 of 2012.</span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-56202394758695296412013-03-24T12:55:00.002-07:002016-02-21T04:26:54.631-08:00Wes Anderson Films Ranked<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ranked from worst to best. Diving straight in:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">7) The Royal Tenenbaums (2001)</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFE9slNEYR0NTeSXDGsAWIt2IsYdOTTjnUKHaZUp4hnYnOdjGaMIGD23BKHIpWpmOJuZPN692DGNEp_eQ6hZ49-k4FkFy-_3s7JfuJI6L2eI6YRUMiJmwHEqSVoyJuzYGFdQNGWMrCUkj/s1600/royalten.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFE9slNEYR0NTeSXDGsAWIt2IsYdOTTjnUKHaZUp4hnYnOdjGaMIGD23BKHIpWpmOJuZPN692DGNEp_eQ6hZ49-k4FkFy-_3s7JfuJI6L2eI6YRUMiJmwHEqSVoyJuzYGFdQNGWMrCUkj/s400/royalten.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">After finding his feet with ‘Bottle Rocket’ and achieving
his unique and would-go-on-to-become-iconic style with ‘Rushmore’, </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Anderson</st1:city><span style="font-family: "arial" , "helvetica" , sans-serif;"> went overboard. I’m generally a fan of </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Anderson</st1:city><span style="font-family: "arial" , "helvetica" , sans-serif;">’s
films and will usually back them when people say they’re pretentious, but not
on this occasion. It actually is a pretentious and over-stylised mess
of a film, as he seems to have spent far too much time making the caricature characters as quirky as possible and hiring a line up of stars to portray them. I was able
to feel a slight, *slight* bit of sympathy for the character of Richie, but elsewhere
there was no emotional connection and believability whatsoever. Ultimately at
the end of the film I felt hollow. It’s baffling because a lot of people seem
to like this film, some calling it his best work.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">6) Fantastic Mr. Fox (2009)</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FbH5bf_5Gl8YtLjLNhrXObz9KzAFdRAXPYELIgr9mkiVpo4be59e4tSqKK1ueiAB70F1pLPmut7JyRJ6gzW5cxAA9AjjfVl4lI1Sh9rxO1DCw9-jwtXXTNWOCX6iVK-CASj8uxYJy2bO/s1600/fantastic-mr-fox_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FbH5bf_5Gl8YtLjLNhrXObz9KzAFdRAXPYELIgr9mkiVpo4be59e4tSqKK1ueiAB70F1pLPmut7JyRJ6gzW5cxAA9AjjfVl4lI1Sh9rxO1DCw9-jwtXXTNWOCX6iVK-CASj8uxYJy2bO/s400/fantastic-mr-fox_1.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’m not the most well watched person when it comes to
animation so I can’t really comment on how original I felt it to be in that respect, but it was certainly
fun to see Wes Anderson auteurism in the form of an animation, and spot the
voicing actors as they were introduced (the voices were perfect by the way).
However, there wasn’t very much of the original Roald Dahl story left, both in
terms of content and style. There was not really any genuine warmth which the
original story offered, there was just dark humour, sarcastic wit… things
which I like, but wish he hadn’t stuffed into this adaptation. I'm assuming the film's also marketed for kids - not sure they'd react well to some of the stuff. Pulling myself away from that issue, there were moments of excellent dialogue,
I enjoyed the characters and their developments (except for ‘Rat’ who I wanted
to see more of), the production design was gorgeous and mise-en-scene incredibly
detailed, and the overall experience was somewhat enjoyable.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">5) Bottle Rocket (1996)</span></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A great starting point for Wes Anderson.
Either because he was still finding his feet or because of the low budget, we
see the plot and characters stripped-down in its bareness. Without the fancy
stuff (though we do get a glimpse of his trademark shots). The dialogue is
awesome (really awesome) and the intentions of these characters are very
much out there for their ages but there is warmth, there is connection, there is a
sweetness. As a wannabe screenwriter this film is a delight to watch - it’s
like a step by step guide to making a perfectly structured film with perfect
character arcs. Incredibly good writing. Overall a very enjoyable experience
with great performances by the </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Wilson</st1:city><span style="font-family: "arial" , "helvetica" , sans-serif;">
brothers.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">4) The Darjeeling Limited (+ Hotel
Chevalier) (2007)</span></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A lot of people seem to think this
is his most pretentious film, and while it's true that at the end we don’t really feel any completion and may think well what was the point in that?, this film actually is a
guilty pleasure of mine. I admire </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Anderson</st1:city><span style="font-family: "arial" , "helvetica" , sans-serif;">’s
attempt to cram the world into this train, as opposed to take the train out
into the world which is what one would normally assume. The outside isn’t really important, that’s why there wasn’t
much effort to really show you enough of </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">India</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif;">,
let alone an accurate </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">India</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif;">.
Pretentious or not, I really enjoyed this film, personally I loved the dialogue
(as always), especially that long scene in the train restaurant (?)
towards the beginning, the three of them and the two German women. By the end
of that scene I had so much hope for the film, was engaged, and I wasn’t let
down.</span></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3) </span><st1:place style="font-family: Arial, Helvetica, sans-serif;"><st1:placename>Moonrise</st1:placename>
<st1:placetype>Kingdom</st1:placetype></st1:place><span style="font-family: "arial" , "helvetica" , sans-serif;"> (2012)</span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I felt detached from the
non-protagonist characters (all of them except for the 2 kids) so it lessens
the ensemble feel which Anderson’s films tend to have, but as I took it as
sort of nostalgic, melancholic, child’s POV film, there was no harm done. You
accept that they are in control, and the adults are portrayed as powerless and
stupid. And it’s charming to have so many stars play the adult characters as
that itself gives the characters a sense of presence and meaning. I felt
transported to another world, both geographically and POV wise. There’s no
tediousness, no pretentiousness at all (I think), and if I watched all of
Anderson’s films back to back this would feel the most like a breath of fresh
air. Act 3 is a bit weak, but that was the only disappointment. He uses the
camera very well, and the actors very well. Thoroughly enjoyable and engaging.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">2) The Life Aquatic with Steve
Zissou (2004)</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX-oHUDnzJEOhe2tw8vjtTaM8WIuLxWvAZIBQr2nfOQfT3tJDEr_FNeBmEtkW8bVpYa5684KuEByO7qRIr9oh8Y6CnoZcphHgQfFlmtV7lyRTKJleEGmEcJ-VqlpmwylhgPFwG3ADCgOu-/s1600/lifeaquatic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX-oHUDnzJEOhe2tw8vjtTaM8WIuLxWvAZIBQr2nfOQfT3tJDEr_FNeBmEtkW8bVpYa5684KuEByO7qRIr9oh8Y6CnoZcphHgQfFlmtV7lyRTKJleEGmEcJ-VqlpmwylhgPFwG3ADCgOu-/s400/lifeaquatic.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Contrary to the many people saying the film started off well but declined, for me the film got better and better. During the first half I thought it was incredibly pretentious, and the protagonist isn’t
likeable at all so difficult to connect to, but slowly I began to like how unlikeable he was, as weird as
that sounds. A bit like Jane, the reporter played by Cate Blanchett (very
interesting to see her in a Wes Anderson film), who was always going to write
an absolutely terrible report but by the end, in that excellent scene, squashed together with the rest of the crew, kind of accepting it all, I did
that too. I was genuinely moved by the father-son dynamic, and by the end I
felt incredibly satisfied. Hats off to Bill Murray who did a fantastic job
with that character. He not only spoke his lines but spoke with his expressions
and mannerisms, perfectly done. And I loved Klaus! Everything scene with Klaus
was hilarious.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">THE best Wes Anderson film. Just as the wonderfully
written, fabulously acted, unlikeable but loveable at the same time, incredibly
charismatic Max Fischer struggles with the real world, Wes Anderson flings
<i>himself</i> at the real world. You’re taken for an entertaining and hilarious
ride, but he never crosses the line into being pretentious or overly stylish
like his later films may or may not do. You’re pulled into it because the
characters aren’t just absurd, they’re believable. And it’s consistent throughout. One of my to-go films when I just can't be asked.</span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-591689578449854182013-03-19T12:10:00.000-07:002013-03-19T12:36:37.270-07:00Side Effects (2013) dir. Steven Soderbergh<br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="background: white; color: #222222;">“It's like this<span class="apple-converted-space"> </span></span><span style="background-color: white;">poisonous fog bank rolling in</span><span class="apple-converted-space"><span style="background: white; color: #222222;"> </span><span style="background: white; color: #222222;">on my mind."</span></span></i><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In a nutshell, ‘Side Effects’ is about 28 year old Emily (Rooney
Mara) dealing with her depression. Her husband Martin (Channing Tatum) is
released from prison having been in there for 4 years, but this added
responsibility on her shoulders does no good for her mental health and she
drives her car into a wall. She starts to see a psychiatrist, Dr. Banks (Jude
Law), who prescribes her a number of anti-depressants which all seem
ineffective. Seeking advice from Emily’s previous psychiatrist Dr. Siebert
(Catherine Zeta-Jones) he prescribes a new experimental anti-depressant called Ablixa.
Instantly it begins to work; however there are some odd side effects, and the
rest I should probably not say.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Having read and listened to a bunch of reviews and
interviews before seeing it, I knew that there were going to be a lot of twists
and turns. Despite my determination to spot things beforehand, of course I was
still taken back by surprise. It not so much ‘tricks’ you but demonstrates the
power and control of the mighty camera. It picks out the important things for
you but also presents falsities and red herrings right into our faces, ‘locking’
us in. So trying to spot things really does you no good. The
music by Thomas Newman illustrates just how sinister the situation is and what’s lying underneath, still to come. The idea of the story may not be entirely new
and original, but it’s certainly a very well made film with excellent
cinematography and great performances. Rooney Mara very convincingly plays a woman
burdened by depression; Jude Law equally as an overworked man who starts to
crumble to pieces. None of the characters are played particularly likeably –
this moral ambiguity and lack of someone to ‘root for’ is another aspect of the
film which adds to the overall eeriness and brilliance of the film. Steven Soderbergh’s
final film – it’s good to see him end his directorial career on a high note with
such technical excellence and confidence. </span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-54140001107712144662013-03-01T10:03:00.000-08:002016-02-21T04:29:35.986-08:00Top 10 Leonardo DiCaprio films<b style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">10) </b><st1:place style="font-family: Arial, Helvetica, sans-serif; font-size: x-large; font-weight: bold;"><st1:placename>Shutter</st1:placename> <st1:placetype>Island</st1:placetype></st1:place><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">
(2010) dir. Martin Scorsese</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A patient has disappeared from </span><st1:place style="font-family: Arial, Helvetica, sans-serif;"><st1:placename>Shutter</st1:placename> <st1:placetype>Island</st1:placetype> <st1:placetype>Hospital</st1:placetype></st1:place><span style="font-family: "arial" , "helvetica" , sans-serif;"> for the insane and is thought to be hiding nearby. </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">US</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif;"> marshal Teddy Daniels (DiCaprio) is called in to investigate… and it becomes a hell of an investigation, a trip into his own sanity and memories. I don’t want to give away too much, and don’t think I could anyway even if I wanted to as it’s extremely complicated, but the confusion you’re made to sit through as a viewer is exactly what the film wants you to feel. I love watching DiCaprio play crazy, and this is the craziest he has ever played. He is absolutely superb in this film.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>9) The Aviator</b> (2004) dir. Martin Scorsese</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A biopic of Howard Hughes, like his many endeavours from
film directing/producing to aviation, his OCD and his womanising ways, the film
feels like a jumbled up montage. This is both what makes the film enjoyable
(personally) and what fails to make it a masterpiece as it doesn’t feel like
there is any clear route or direction it’s headed in. I don’t necessarily think that a film
</span><i style="font-family: Arial, Helvetica, sans-serif;">must</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> have a well structured story, but in this case I understand that some people may have felt they were up in the air, wanting to put their
feet onto the ground. But regardless of whether it’s perfectly structured or not,
the direction is brilliant and the acting is amazing (even Kate Beckinsale). It’s
perfectly enjoyable and is great cinema!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>8) This Boy’s Life</b> (1993) dir. Michael Caton-Jones</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Based on the memoirs of writer Tobias Wolff, this is about a
mother, Caroline Wolff (Ellen Barkin) and son Tobias ‘Jack’ Wolff (DiCaprio)
who escape from Caroline’s abusive boyfriend and search for a place of comfort,
in the 1950s. Caroline meets Dwight (Robert De Niro), who seems a nice guy, and
they marry and move to his hometown. Dwight then turns out to be a selfish and
abusive douche. They live under his ‘control’ in this small and caged town,
until one day Tobias learns that that may not have to be the case. It’s a sad
story because many people do live this way and may not be able to find an
escape route. The acting is great, the dialogue is great, very witty at times,
and the story is told incredibly well. The film is, like I said, quite sad, but
also gives you hope at the same time.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>7) Marvin’s Room</b> (1996) dir. Jerry Zaks</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Lee (Meryl Streep) and Bessie (Diane Keaton) are sisters but
they haven’t spoken in 17 years. Through Bessie’s Leukemia and her need for a
marrow transplant, Lee and her sons Hank (DiCaprio) and Charlie (Hal Scardino) travel to see Bessie and reignite the sisterly relationship. Hank is a troubled youngster, put into a
mental institute after trying to set their house on fire, and we watch him
soften and learn to care for others. It’s a sweet little film with a pretty amazing
cast (Robert De Niro is also in the film, playing Bessie’s doctor), and
DiCaprio doesn’t falter at all. He adds depth to his character, and is very
entertaining to watch.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>6) Titanic </b>(1997) dir. James Cameron</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’ve watched Titanic many many times, but the more I watch
it, the less the terrible sadness becomes about Jack and Rose, but I am
reminded and I see that every single passenger on that boat had a family, or a
lover, that they were torn away from each other. Humanity is shown in its
truest form, both in good ways and bad ways. DiCaprio plays Jack, the poor guy, and Kate Winslet, Rose, the rich girl. DiCaprio and Winslet have great chemistry; though their story is the narrative that you follow, ultimately this is a film about
humanity, and the film succeeds in carrying that weight and depth forward to
the audience.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>5) The Basketball Diaries</b> (1995) dir. Scott Kalvert</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Based on the real life published journals of Jim Carroll, the
film essentially is about the effects of heroin on Carroll, played by DiCaprio,
and his dreams of becoming a professional basketball player. We also watch
Carroll confront the realisation of mortality and explore his sexual angst. The reoccurring voiceover narration reminds us
that this isn’t just a druggie film, it’s a true story. I enjoy this so
much because of DiCaprio’s performance. He is completely convincing as a mischievous youth who’s life spirals out of control. We’d seen him play all sorts of
characters before but it was the first time seeing such a dark and desperate side of him. He makes the film an engaging experience, and I think this
is one of his best performances ever. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">DiCaprio (Danny Archer) and Djimon Hounsou (Solomon Vandy)
give incredible performances in this film set in </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">Sierra
Leone</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif;"> (though not filmed there) about the diamond
trade. Now I hardly know anything about the history or the politics or the diamond
trade in </span><st1:place style="font-family: Arial, Helvetica, sans-serif;">Africa</st1:place><span style="font-family: "arial" , "helvetica" , sans-serif;">, but I don’t feel that there was any
unnecessary violence, and I sensed the characters inside the film to be as
horrified by the violence as we the audience are. I’ve also read praising reviews
by people who are knowledgeable about the issue, so there you go. As a film it’s
perfect. A solid script, brought to life by great directing, characters which
draw us in, incredible acting, and I also love the beautiful music by James
Newton Howard.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>3) The Departed</b> (2006) dir. Martin Scorsese</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A remake of the Hong Kong film ‘Internal Affairs’, Billy
(DiCaprio) works for Boston mafia chief Costello (Jack Nicholson) but is
secretly on the side of the Massachusetts Police. Likewise, Colin Sullivan
(Matt Damon) who works for the police, is secretly on the side of Costello. I’m
sure that could’ve been worded better but anyway. They discover that there is a
‘rat’ among them, and it becomes a thrilling cat & mouse chase x2 to find
out who the ‘rat’ is. The storytelling is superb and performances are
excellent. Mark Wahlberg’s Sergeant Dignam almost steals the show with his
awesomely witty dialogue and final scene of the film. Great entertainment!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>2) What’s Eating Gilbert Grape </b>(1993) dir. Lasse Hallstr<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: windowtext;">öm</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a beautiful, tender and warm film, at times heartbreaking,
about the Grape family. DiCaprio plays Arnie, the retarded younger brother of
Gilbert (Johnny Depp). With so many things on his plate, including their extremely
obese mother who can’t/won’t leave the house, Gilbert becomes a bit of an empty
vessel, putting other people before him, not really finding any pleasures in
life besides the occasional sexual encounters with the married Betty Carver who
shops at his grocery store. He meets Becky (Juliette Lewis), who makes his life
more interesting and opens him up a bit. Gilbert could easily have become a one
dimensional character, but Johnny Depp does a great job by bringing him to life
and making him lovable. DiCaprio does a phenomenal job playing Arnie, to the
extent that some people who didn’t know DiCaprio thought he was a retarded
actor playing the role. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>1) Catch Me If You Can</b> (2002) dir. Steven Spielberg</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is based on the true story of Frank Abagnale Jr., the
famous conman who passed himself off as a pilot, a doctor and a lawyer mainly by
forging cheques and being charming. Played by DiCaprio with such cheek and charm, you’re pulled into
the story and root for him. Tom Hanks plays Carl Hanratty, the FBI agent who humorously
chases and tries to catch him. It’s a fun, engaging and funny ride, but there
is depth too. We see how his relationship with his parents, especially his
father, played by the wonderful Christopher Walken, affected his character and
actions, and we also take a peek into his lonely soul through the conversation
we see between Frank and Carl Hanratty over the phone on Christmas Eve. It’s a
film that I watch once every now and then and never get bored by, and I can
just back, relax and enjoy!</span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;">Leo plays Jay Gatsby in <b>The Great Gatsby</b>, directed by Baz Luhrmann, set to come out in theaters this May. He will also be in <b>The Wolf of Wall Street</b>, based on the memoir by Jordan Belfort, directed by Martin Scorsese. No release date set but probably late this year. Though he's currently taking a break from acting to focus on environmental work, at least we'll be seeing him on screen this year. Then I hope it won't be toooo long till he returns!</span></o:p></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-74146927342155363222013-02-24T08:16:00.002-08:002013-02-24T18:14:34.805-08:00Oscar Predictions<span style="font-family: Arial, Helvetica, sans-serif;">The Oscars, alas! It'll be around 2am UK time but I'll be up, and with Seth Macfarlane hosting, I'm very excited :) </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Here are my predictions on who will win for some of the categories, and my thoughts on who I personally think deserve the award:</span><br />
<b style="font-family: Arial, Helvetica, sans-serif;"><u><br /></u></b>
<b style="font-family: Arial, Helvetica, sans-serif;"><u>Best
Picture</u></b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Amour,
Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of
Pi, <st1:city><st1:place>Lincoln</st1:place></st1:city>, Silver Linings
Playbook, Zero Dark Thirty<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Argo or Lincoln<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Life of Pi<o:p></o:p></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Out
of these picks, the film which blew me away the most in terms of its visuals
and its themes and meanings was Life of Pi. Argo was great but it’s won way too
many things now. I haven’t seen </span><st1:city style="font-family: Arial, Helvetica, sans-serif;"><st1:place>Lincoln</st1:place></st1:city><span style="font-family: Arial, Helvetica, sans-serif;"> so I cannot comment. By
the way I am confused as to why The Master wasn’t nominated for Best Picture. What
the hell did they increase the number of films that can be nominated for?? This
was also 007’s best shot at a Best Picture nomination, so I’m disappointed Skyfall
wasn’t nominated.</span></div>
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<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Actor</span></u></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bradley
Cooper, Daniel Day-Lewis, Hugh Jackman, Joaquin Phoenix, Denzel Washington<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Daniel Day-Lewis</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Joaquin Phoenix<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Haven’t
seen </span><st1:city style="font-family: Arial, Helvetica, sans-serif;"><st1:place>Lincoln</st1:place></st1:city><span style="font-family: Arial, Helvetica, sans-serif;"> so cannot comment on
DDL’s performance. Joaquin Phoenix was absolutely phenomenal in The Master.</span></div>
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<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Actress</span></u></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jessica
Chastain, Jennifer Lawrence, Emmanuelle Riva, Quvenzhane Wallis, Naomi Watts<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Emmanuelle Riva</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And
so it should be: Emmanuelle Riva<o:p></o:p></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Besides
Quvenzhane Wallis (because she's too young) I think everyone in this category was amazing so I wouldn’t
mind if any of them won to be honest!</span></div>
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<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Supporting Actor</span></u></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Alan
Arkin, Robert De Niro, Philip Seymour Hoffman, Tommy Lee Jones, Christoph Waltz<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Robert De Niro or Tommy Lee Jones</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Philip Seymour Hoffman<o:p></o:p></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Again
I haven’t seen </span><st1:city style="font-family: Arial, Helvetica, sans-serif;"><st1:place>Lincoln</st1:place></st1:city><span style="font-family: Arial, Helvetica, sans-serif;"> so I cannot comment on
TLJ’s performance. I also see Christoph Waltz possibly winning this, and it’s
true he did an awesome job supporting Jamie Foxx, but the best thing about that
film was Leonardo DiCaprio. I wish wish wish he’d been nominated. Philip
Seymour Hoffman is the only one that truly, truly deserves to win in my
opinion. His performance was masterful as the Master in The Master.</span><br />
<b><u><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></u></b>
<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Supporting Actress</span></u></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Amy
Adams, Sally Field, Anne Hathaway, Helen Hunt, Jacki Weaver<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Anne Hathaway</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Amy Adams<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Anne
Hathaway was the best thing about Les Mis for me. But I don’t want to start a
Les Mis rant, that could go on for pages. But just because I know she’s going to
win, I want Amy Adams to win. Her role in The Master really was effectual in
giving off this sinister sense of control lurking behind the Master.</span><br />
<b><u><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></u></b>
<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Director</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Michael
Haneke - Amour, Benh Zeitlin - Beasts of the Southern Wild, Ang Lee - Life of
Pi, Steven Spielberg - Lincoln, David O. Russell – Silver Linings Playbook<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Steven Spielberg</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Michael Haneke or Benh Zeitlin<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">I’m
not sure why Beasts hasn’t been nominated for best cinematography! It looked
gorgeous! He directed a 9 year old to put on an Oscar nomination worthy
performance right? Haha. Also gutted for Beasts being thrashed by Silver
Linings Playbook at the Indie Spirit Awards yesterday. SLP is really ‘indie’,
yeah.</span></div>
<div class="MsoNormal">
<b><u><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></u></b>
<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Cinematography</span></u></b></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Anna
Karenina, Django Unchained, Life of Pi, <st1:city><st1:place>Lincoln</st1:place></st1:city>, Skyfall<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Life of Pi</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Skyfall<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">See
this is the thing. I’m confused about what ‘Cinematography’ actually means,
because I used to think it meant cinematography WITHOUT visual effects, but
apparently it doesn’t? Life of Pi should win Visual FX, definitely, but in
terms of non-completely-reliant-on-CGI, I’m rooting for Skyfall. GO </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;"><st1:place>ENGLAND</st1:place></st1:country-region><span style="font-family: Arial, Helvetica, sans-serif;">!!! (and </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;"><st1:place>Scotland</st1:place></st1:country-region><span style="font-family: Arial, Helvetica, sans-serif;">) The whole stage-production-within-a-film
thing in Anna Karenina was an interesting thing to do but it didn’t do anything
for me. If only they’d had more vastness and openness in Levin’s scenes. I mean
that was the point I thought, when I was reading the novel many years ago. That
we were liberated from all the suffocation and tension through Levin’s outdoor
scenes.</span><br />
<b><u><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></u></b>
<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Music
– Original Score</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Dario
Marianelli - Anna Karenina, Alexandre Desplat - Argo, Mychael Danna - Life of
Pi, John Williams - Lincoln, Thomas Newman - Skyfall<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Life of Pi</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I
wish it was: Anna Karenina<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The
score was the best character of the film. It really supported the characters
and the actions, and brought the production to life.</span></div>
<div class="MsoNormal">
<u><b><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></b></u>
<u><b><span style="font-family: Arial, Helvetica, sans-serif;">Best
Original Screenplay</span></b></u></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Michael
Haneke - Amour, Quentin Tarantino - Django Unchained, John Gatins - Flight, Wes
Anderson & Roman Coppola - <st1:place><st1:placename>Moonrise</st1:placename> <st1:placetype>Kingdom</st1:placetype></st1:place>, Mark Boal - Zero Dark
Thirty<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Django Unchained</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">I wish it was: <st1:place><st1:placename>Moonrise</st1:placename> <st1:placetype>Kingdom</st1:placetype></st1:place></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Act 3 of Django was disappointing for me.
Throughout all 3 acts there were scenes that went on waaay too long, and
elements such as Samuel LJ’s character I wish he’d explored a bit more. Not sure
what ZDT is doing in this category, wasn’t that based on true accounts? Flight
was terrible. After the plane crash it was just downhill in terms of plot and
characters. I wouldn’t mind if Amour won, but I’m rooting for </span><st1:place style="font-family: Arial, Helvetica, sans-serif;"><st1:placename>Moonrise</st1:placename> <st1:placetype>Kingdom</st1:placetype></st1:place><span style="font-family: Arial, Helvetica, sans-serif;">! It was fun, unique, with
more depth than you think.</span><br />
<b><u><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></u></b>
<b><u><span style="font-family: Arial, Helvetica, sans-serif;">Best
Adapted Screenplay</span></u></b></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Nominees:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Chris
Terrio - Argo, Lucy Alibar & Benh Zeitlin - Beasts of the Southern Wild, David
Magee- Life of Pi, Tony Kushner - Lincoln, David O. Russell - Silver Linings
Playbook<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Prediction:
Silver Linings Playbook</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">And
so it should be: Silver Linings Playbook</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">I
thought the writing was the foundation of SLP. Also wouldn’t mind if Chris
Terrio won for Argo. In fact I’d be happy as DOR has already bagged a few
awards for this one (either for director or screenplay).</span></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-61856590071998687662013-02-04T15:48:00.001-08:002013-02-04T16:03:06.734-08:00Some films I'd recommend to Diana<div style="font-family: Arial,Helvetica,sans-serif;">
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My friend Diana told me that it would be a dream come true if
I dedicated a blog post to her. Being an insanely busy person with a hectic
schedule the prospect of this happening was nil, but I’m one of those people who
finds it difficult to say no. And if this small good deed is going to make my
friend’s dream come true and change her life then I will find the time to do
this.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">She sent me a list of films that she likes and asked me for
recommendations. Instead of replying to her on Facebook message which is
probably what I should do, I will reply here on my blog and make it a public
matter:<o:p> </o:p></span><br />
<span style="font-size: small;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes <b>Tarantino</b> films, especially <b>Inglorious
Basterds</b>, and as much as I'd like to be able to wholeheartedly recommend to her the latest Tarantino film <b>Django
Unchained</b>, I was slightly disappointed by it. Go see it, by all means,
because you probably will one day anyway. But what I will recommend are <u><b>In
Bruges</b></u> and <u><b>Seven Psychopaths</b></u>, by Martin McDonagh. His style reminds me of
Tarantino; and obvious similarity is the use of excess violence, but its use is
also satirical – more clearly than Tarantino’s, and you can see that at the
same time he clearly has something to say about what he is presenting on
screen. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes <b>The Tree of Life</b>. I actually didn’t like
it that much. I briefly wrote about it a long time ago on this blog so scroll
all the way down to check it out! There was nothing wrong with the film but I
just…. well... I’m not as
intelligent as you. A film that I saw recently which was also a visual
spectacle was <u><b>Life of Pi</b></u>. Also pretty impressive visually, not on such a grand
scale as The Tree of Life, but what it has to say is easy to understand even
for idiots like me. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tsOwNe-nirXyncCP3Tw7oivfq_gP16paCdRppFhl8dAcebLwkF6QudtU_ew7cbKp8-OryPbT7YWTyFjvurZDX2c4sGShl80n9JuJ_EUiiBugp7Bl0F_vCQUtUOETGNf4k6WHp3bXX4nI/s1600/tumblr_lvd9wf9tCx1qfjho1o1_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tsOwNe-nirXyncCP3Tw7oivfq_gP16paCdRppFhl8dAcebLwkF6QudtU_ew7cbKp8-OryPbT7YWTyFjvurZDX2c4sGShl80n9JuJ_EUiiBugp7Bl0F_vCQUtUOETGNf4k6WHp3bXX4nI/s200/tumblr_lvd9wf9tCx1qfjho1o1_500.jpg" width="200" /></a></div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes <b>Donnie Darko</b>. I can’t remember much about
it cause I saw it when I was like 15, but its time travel vibe reminds me of
films like <u><b>The Butterfly Effect</b></u>, or even <u><b>The Source Code</b></u>. Neither are ‘great’
films, but are pretty decent and highly entertaining. Last year there was
<u><b>Looper</b></u>, also about time travel with a unique plot, which I recommend. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes the films of <b>Alejandro Gonzalez Inarritu</b>,
especially <b>21 Grams</b>. I also love 21 Grams. The only other film by him that I’ve
seen is actually <u><b><st1:city><st1:place>Babel</st1:place></st1:city></b></u>, also with
interweaving plot lines. I remember it being so-so. Interweaving plot lines
reminds me of one of my favourite films, <u><b>The Edge of Heaven</b></u>, a Turkish &
German film, extremely compelling, deep and powerful.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes <b>The Reader</b>, and I actually just today saw
the 2002 film <u><b>The Hours</b></u>, with the same director (Stephen Daldry) and
screenwriter (David Hare). It wasn’t as great as it made out to be; it was
delivered well, structured well, the performances were awesome (especially Nicole
Kidman who plays Virginia Woolf, and Julianne Moore) and I guess I’d recommend
it. It’s about suicide so yeah, really cheery. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">She said she likes <b><st1:street><st1:address>Revolutionary
Road</st1:address></st1:street></b>. I liked it too, I love Sam Mendes’ films – <u><b>American
Beauty</b></u> (which you’ve probably already seen anyway) and <u><b>Road to Perdition</b></u> are
some of my favourite films. Their themes are of loneliness, the past and the
present, and of hope – something Mendes always explores so well.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">You mentioned several other dark/confusing films – <b>Requiem for
a Dream</b>, <b><st1:street><st1:address>Mullholland Drive</st1:address></st1:street></b>,
actually that’s it, but I got the general vibe that you like somewhat
depressing or sinister films, so I will list out a few more of my contemporary favourites:</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM5XRCtVcrZZi9brnIf4LPst53DyP49xU4Xe7RwIVDaS26r2QaEmVjTqs6FnU0PXQnL8FjOtfOmepeIyYECADff4wZgDlGlwny0ZzTmhXVWo8Qy4VKzeAZ5iTHHvtomCg5W3wTGmWlF_c1/s1600/28-Mulholland-drive_0+copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM5XRCtVcrZZi9brnIf4LPst53DyP49xU4Xe7RwIVDaS26r2QaEmVjTqs6FnU0PXQnL8FjOtfOmepeIyYECADff4wZgDlGlwny0ZzTmhXVWo8Qy4VKzeAZ5iTHHvtomCg5W3wTGmWlF_c1/s200/28-Mulholland-drive_0+copy.jpg" width="181" /></a><span style="font-size: small;"><o:p> </o:p></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><b>The Talented Mr Ripley</b><br />
<b>The Devil’s Double</b></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><b>Blue Velvet</b> (David Lynch, I’m sure you’ve seen it)<br />
<b>We Need to Talk About Kevin</b></span></div>
<div class="MsoNormal">
<b><span style="font-size: small;">Children of Men</span></b></div>
<div class="MsoNormal">
<span style="font-size: small;"><b>Vanilla Sky</b> (the original Spanish film <u><b>Abre los ojos</b></u> is
better)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">And my favourite film of last year which I’m recommending
for the sake of it: <u><b>Holy Motors</b></u> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">And one of my fav films, not really sinister, just
purely depressing (beautiful though): <u><b>Never Let Me Go</b></u></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">And I hear <u><b>The Master</b></u> is really good, I haven’t seen it yet
but I think both you and I will like it! I’ll let you know when I eventually
see it if I’d recommend it to you.</span></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com2tag:blogger.com,1999:blog-1874763448513955622.post-64058575668622243042013-01-31T15:05:00.003-08:002013-01-31T16:13:11.618-08:0012 Memorable Movie Moments of 2012<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Some of the most memorable moments last year, from terrifying shots to visually splendid sequences. <br />I couldn't come up with 2012 so I came up with 12 instead.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">In order of the modern English alphabet:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Amour</b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFjpAVQqVbm6ZTkjw_4W2Mwm8yOEx7Rn5_XKrB6G9HfCvVBwkKNx7oU7GcUm8aHVGpVYq6GSGolNVfG8twz2MtC7JCFpiEA5OYx3K78_l_Cpeg2-QPVtQ0Mjc7fQHUKsYCvvJ-2VfJxKB/s1600/1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFjpAVQqVbm6ZTkjw_4W2Mwm8yOEx7Rn5_XKrB6G9HfCvVBwkKNx7oU7GcUm8aHVGpVYq6GSGolNVfG8twz2MtC7JCFpiEA5OYx3K78_l_Cpeg2-QPVtQ0Mjc7fQHUKsYCvvJ-2VfJxKB/s200/1.png" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif;">I loved the use of the pigeon in this film. Whether or not
it was a symbol of death, or entrapment, whatever the meaning, it was a nice
addition. On first viewing I was just hoping he wasn’t going to smother it. On
second viewing I was able to find it a touching moment as he tries so hard to
capture it, finally manages to, and after a moment of contemplation appears to hug it. That
was heartbreaking.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Argo </b></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8MT8SgnAqAyYCZNm9Sjq5PWx81Gd2QpvdKvQWtZPMkd6SSCoOBTz9IgZLjBN7ZpGDOlOg07JMfbiMETbL3ukArEPZ2QPICOkQBpAti6UhAxKirKzTXuZppYbfSdkiyt6YkxCmIDKgfqH2/s1600/2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8MT8SgnAqAyYCZNm9Sjq5PWx81Gd2QpvdKvQWtZPMkd6SSCoOBTz9IgZLjBN7ZpGDOlOg07JMfbiMETbL3ukArEPZ2QPICOkQBpAti6UhAxKirKzTXuZppYbfSdkiyt6YkxCmIDKgfqH2/s200/2.jpg" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">There were lots of thrilling moments in Argo but one which was particularly effective while being a bit sinister was the shot(s) of the children hired by
the Iranian government putting together the shredded photographs of the
hostages. I don’t know if this really happened and if it did I have no idea why children were used to do this, but whether or not it was a piece of fiction
added on to evoke suspense, it worked really well.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Beasts of the Southern Wild </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDASRLdRmrpXTMpgi0XDNiPulqrLOglqQWg7eJslegAPIxWfsWXTAyVpiIshekOJy6eRIs6YxNbTslMk5AiESwg4lIi_VE60uWrDyb-nfWgUuii2SgMr1j_5xWLIS0QOpZBAIkNThBKCHM/s1600/3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDASRLdRmrpXTMpgi0XDNiPulqrLOglqQWg7eJslegAPIxWfsWXTAyVpiIshekOJy6eRIs6YxNbTslMk5AiESwg4lIi_VE60uWrDyb-nfWgUuii2SgMr1j_5xWLIS0QOpZBAIkNThBKCHM/s200/3.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I liked the brutally honest cinematography of this film in
general but the most memorable element for me was the depiction of strength and
wilderness in the form of the horned boar-like beasts. I loved the reoccurring
shots of them running, expressing power and life, and towards the end when they
come face to face with Hushpuppy I loved their eyes which conveyed a sense of a
pureness and innocence within the wild.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>The <st1:place><st1:placename>Deep</st1:placename> <st1:placename>Blue</st1:placename>
<st1:placetype>Sea</st1:placetype></st1:place></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0S7n31t6HtiXUdBaPj1yhsDK7HK9M-a0rB-bUm4-uAJAJESjHOvlcZsEqgBGvm7hqheTb1phVzmA_P1zMdXjwYd2IieROde-L9EHdtozQFPCw4vJNJRPiU4UDDJ-BT663eZApFvJEGzb/s1600/4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0S7n31t6HtiXUdBaPj1yhsDK7HK9M-a0rB-bUm4-uAJAJESjHOvlcZsEqgBGvm7hqheTb1phVzmA_P1zMdXjwYd2IieROde-L9EHdtozQFPCw4vJNJRPiU4UDDJ-BT663eZApFvJEGzb/s200/4.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The underground sequence where Hester remembers the people
huddled up to shelter from the bombing during the war was incredibly beautiful.
As they sung in unison to keep their spirits alive I felt a strong sense of
human connection, hope and a united nation. The fact that this is a memory, the
camera panning across the platform of the station, makes it quite haunting (it
reminded me a tiny bit of the scene at </span><st1:city style="font-family: Arial, Helvetica, sans-serif;">Dunkirk</st1:city><span style="font-family: Arial, Helvetica, sans-serif;">
in ‘Atonement’ by Joe Wright) and it remained in my head long after the film
ended.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Django Unchained</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f1b6wUafgey7TjppTPA91ZFk2KBuuV7WkRzzWIB3kbG3s0uGe6Ok77JWID2nLHOTXN_JHTiX9V3LCONJbvb58sxtumg1DxVQYvYYEO0R2Pm5ZJxKVxlNClGH99BTxyW9KbZvDd-FK3yP/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3f1b6wUafgey7TjppTPA91ZFk2KBuuV7WkRzzWIB3kbG3s0uGe6Ok77JWID2nLHOTXN_JHTiX9V3LCONJbvb58sxtumg1DxVQYvYYEO0R2Pm5ZJxKVxlNClGH99BTxyW9KbZvDd-FK3yP/s200/5.jpg" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif;">The dinner scene at Candie’s place was great, though
slightly too long, and I thought that anecdote about the skull felt like an
accessory more than a necessity. Leonardo DiCaprio was fantastic though. Before
watching the film I saw an interview where Leo explained that when he smashed
the glass on the table it actually cut his hand and started to bleed but he continued
with the scene and that was the take that was
used in the film. So I was watching his hand carefully during that scene and
there was much more blood than I expected which gave his character and the
scene a more menacing effect - kudos for continuing with the scene! Samuel
L Jackson is also brilliant here; his character is probably the
most fascinating thing about the film.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Holy Motors</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidO6-1DK0N3rXwOvqwwaA6ztpU21x5jaXIhEQqy7B9ABTr8Kdy1jmkPnG3dsyyWSjJ8TtPQLS-oaIw9gfdDY14pdMuqqiOy-rBuYvozZLnyEqSDv9G2F05mPJqj4VE8-lzvRVG99OxDnq/s1600/6.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidO6-1DK0N3rXwOvqwwaA6ztpU21x5jaXIhEQqy7B9ABTr8Kdy1jmkPnG3dsyyWSjJ8TtPQLS-oaIw9gfdDY14pdMuqqiOy-rBuYvozZLnyEqSDv9G2F05mPJqj4VE8-lzvRVG99OxDnq/s200/6.jpeg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The film was built from numerous spectacular-looking, often
bizarre sequences. To name a few, there was the shocking (and hilarious)
flower-eating sequence in the cemetery, and then underground with Eva Mendes
with his… erm… yeah. The motion capture scene was equally memorable. In fact
pretty much every sequence was memorable so I can’t highlight one that
particularly stood out, so I’ll just choose the scene towards the end with the
monkeys. For a split second this monkey scene ruined the entire experience for
me by taking it to a ridiculous level, but I quickly became accepting. It
didn’t do anything for the narrative (if there is such thing in this film) and
had it not been included it would probably have made no difference, but I liked
how far it stretched out to be bizarre and say something about cinema.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Imposter </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiri1Jm3ExEGtcO5eWWfeLi1LwI0qcBJvlDaNQsCSYLrEP5vgN9Djfo7IoZEES55mDmBCOvGRkL6XxdDeMBFoRvvur3l_EWJBOTsLUBTe1WgvXGQwQYaAmKvYM3vYrujso93LPVCTdkxtjk/s1600/7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="110" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiri1Jm3ExEGtcO5eWWfeLi1LwI0qcBJvlDaNQsCSYLrEP5vgN9Djfo7IoZEES55mDmBCOvGRkL6XxdDeMBFoRvvur3l_EWJBOTsLUBTe1WgvXGQwQYaAmKvYM3vYrujso93LPVCTdkxtjk/s320/7.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At the end of the film when Bourdin is seen dancing to a
Michael Jackson song in prison, it’s pretty chilling and somewhat humorous at
the same time. Bourdin clearly had a fascination for the American life (evident
from when he talks about the ‘yellow school bus’ and his experiences of going
to high school for the first time), so I interpreted the dance as
representative of that fascination for </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif;">America</st1:country-region><span style="font-family: Arial, Helvetica, sans-serif;">
he may have had for many years, since he was a child perhaps (judging from the
elaborate choreography). And of course there is the popular interpretation of
it being a metaphor for ‘robbed childhood’, relatable to MJ.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Les Miserables </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2-6RXY778sfu02l8QBHsKzxJmpiO8MPGSbdcvybaNP5gMC8lESlVJo2tvTMgZ_ZVTgbN_uI9ilyWtkwvVtoCmLDY85k-GiPIXl6x43p4uBQktvsxCwEA-cZLNzp8CRAFbt-QYKBnQKpD/s1600/8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2-6RXY778sfu02l8QBHsKzxJmpiO8MPGSbdcvybaNP5gMC8lESlVJo2tvTMgZ_ZVTgbN_uI9ilyWtkwvVtoCmLDY85k-GiPIXl6x43p4uBQktvsxCwEA-cZLNzp8CRAFbt-QYKBnQKpD/s200/8.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I didn’t really like the film itself for its lack of variety
in shots and ungrand scale despite all the money spent (basically it felt like
a musical stage on screen), but the point of redemption for me was the final
scene where the ghost of Fantine appears and takes Valjean away with her. I’ve
always appreciated how this sequence was pulled off on the musical stage but in
this film there were literally two Valjeans, one who had just taken his last
breath in the chair and the other, liberated and striding off into the
afterlife, guided by Fantine. This is something that could only have been done
on film, and I appreciated it and it actually moved me. And after this came the very final scene of the film where the entire cast sing ‘Do you hear people
sing’, which was equally moving. They finally use a wide shot!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMau7hP4Ss4988kIkuPoa_t_yqaNOwLtndpJHSJHB8IdR5J4uJx1bYtMKGW_DJC19RD0GZzzRx0Y5MJXBNejvO1Zg5acVuVEMziAmOnEU8glQziKcfmC_Re_j-5i1EPgBkJf_XBOIFxn5Z/s1600/8.1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMau7hP4Ss4988kIkuPoa_t_yqaNOwLtndpJHSJHB8IdR5J4uJx1bYtMKGW_DJC19RD0GZzzRx0Y5MJXBNejvO1Zg5acVuVEMziAmOnEU8glQziKcfmC_Re_j-5i1EPgBkJf_XBOIFxn5Z/s200/8.1.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another scene from Les Miserables which was impressive and memorable – Javert’s suicide. </span><span style="font-family: Arial, Helvetica, sans-serif;">Among all the obsessively used close up shots and feeling of
claustrophobia, the height of the fall here made the sequence a liberating
experience. It also finally frees us from his god awful singing. The
liberation hits a grim note as Javert, plunging to his death, smacks his head
against the rocks before being washed away limply by the water.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Life of Pi </b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4wtrvLjwEjQTeVf94s89T8qQUGxYr_awGOAYw2sZA4AJdK-xVhcrwsQSh79Qruf9iXcxZt06a4io3SB7-3vy0xTdYNS2edjwHzZ7Est2PcgFYSAk2TWbm0kytb30VogDCnZgVLAAjRxgx/s1600/9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4wtrvLjwEjQTeVf94s89T8qQUGxYr_awGOAYw2sZA4AJdK-xVhcrwsQSh79Qruf9iXcxZt06a4io3SB7-3vy0xTdYNS2edjwHzZ7Est2PcgFYSAk2TWbm0kytb30VogDCnZgVLAAjRxgx/s200/9.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The whole middle section of the film was a visual spectacle,
with pretty realistic looking animals and the enchanting colours of the water
and the heavens at night. As the shipwreck is happening, Pi dives underwater
and we watch the ship fall apart and sink together with him. Cut to over an
hour of visual splendour later, Pi's adventure at sea ends as he collapses
onto the Mexican beach. Richard Parker jumps out of the boat and strides off into
the jungle without looking back to say goodbye and this brings Pi to tears –
even present day Pi as he tells his story. It brought me to tears too.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Looper</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7tT2mXoxLKf0_tUaoIcuOY7hDVmSx-Bfj6G2bKfinuD4h0legCihM4qEUXhrtZ8od0ySWcaX3LZChz9sZXj5Km3-EhSW7yipfKNErtQIzGow5Lm46tpP7MDakIxx0cytnQ38ZC2bwsmf5/s1600/10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7tT2mXoxLKf0_tUaoIcuOY7hDVmSx-Bfj6G2bKfinuD4h0legCihM4qEUXhrtZ8od0ySWcaX3LZChz9sZXj5Km3-EhSW7yipfKNErtQIzGow5Lm46tpP7MDakIxx0cytnQ38ZC2bwsmf5/s200/10.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The scene where older Seth’s body parts fall off/disappear
is truly unique and horrifying. The way this is presented to us, first with the
emerging of the carved words in his arms, and then how one by one pieces of him
just fall off or shrivel into themselves is something I’ve never come across
before. He cannot see what’s going on but he obviously realises what is
happening to his past self – the thought of this itself is terrifying - wow!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Skyfall</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XJBRLOQhvlY0DESFb_2OnL__BoGcQemdLQfX3k7Q50OCcwwpssHi84qCzdfUXrhWid7_96H5UZ9dbL8BvnG9bVoEwM7BAGgGxztuagy5nyZIjGNk6F6YhQ7xNzVGC-JNdUrqlcapSfa-/s1600/11.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XJBRLOQhvlY0DESFb_2OnL__BoGcQemdLQfX3k7Q50OCcwwpssHi84qCzdfUXrhWid7_96H5UZ9dbL8BvnG9bVoEwM7BAGgGxztuagy5nyZIjGNk6F6YhQ7xNzVGC-JNdUrqlcapSfa-/s200/11.jpg" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrTpOENk1FmptaMucs6wS4I9HGwIiuD8ARwy_EU16IVAsD7OQnnI47WtFv-zR6mUYWlxAFM_eeaVCnhDJcL2TIj3UKsAriKPkIXUWaHzstNy_-TY7iX0Rf-O12hFJp0Kr3d4k5S95-a7Um/s1600/11.2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrTpOENk1FmptaMucs6wS4I9HGwIiuD8ARwy_EU16IVAsD7OQnnI47WtFv-zR6mUYWlxAFM_eeaVCnhDJcL2TIj3UKsAriKPkIXUWaHzstNy_-TY7iX0Rf-O12hFJp0Kr3d4k5S95-a7Um/s200/11.2.jpg" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif;">The opening credits of this film is so brilliant, it gave me
goosebumps. Bond’s fall into the water links into the credits nicely, and the
title song by Adele is so perfectly Bond-like and classy, as is the credit
sequence itself. And it’s just so interesting to start the credits right after
Bond has been 'killed'. Of course we all know there’s no way that he's actually dead, but precisely because we know this I think the credits draws out a sense of immortality and it begins to develop the major theme of this film of Bond becoming too old </span><span style="font-family: Arial, Helvetica, sans-serif;">(both him and the franchise itself).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another memorable scene is when Silva, confronted by M,
takes out his fake jaw and shows us his disfiguration, which is so terrifying
and creepy. It sums up his menace and gives depth to the backstory of when he
used to be an MI6 agent himself and his relationship with M.</span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">Zero Dark Thirty</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLESDFNxPulNeHPRfu-J-6gcGhsNKdE1ANxmJ_XdzarLEhdZq9bOwxflXFakfyrBqMSYfF9VpLBp27yM8X7XBxBrPwBiBfRquAbVWuSqo6evz6kHxH8yk8LX3R1CmIT5TqrfT3GVxEg4FA/s1600/12.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLESDFNxPulNeHPRfu-J-6gcGhsNKdE1ANxmJ_XdzarLEhdZq9bOwxflXFakfyrBqMSYfF9VpLBp27yM8X7XBxBrPwBiBfRquAbVWuSqo6evz6kHxH8yk8LX3R1CmIT5TqrfT3GVxEg4FA/s200/12.jpg" width="200" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The final half hour of this film pays off for the frustrating
2 hours before that, and knowing the weight of the subject matter it was a
tense experience. The best part, though, was the final shot of the film. From
the prior sequence where the soldiers return and bring the supposed corpse of
Bin Laden, Maya does not show any hoorah or sense of accomplishment at
all. Then she is shown on the plane alone, a close up on her vague and questionable expression. She’s just dedicated 10 years of her life to
this mission. What was the significance of it all? What now?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Note: I still haven’t seen ‘The Master’.</span></div>
<br />Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-28606360257638707602013-01-29T12:09:00.003-08:002013-02-13T03:47:30.392-08:00Top 15 films of 2012<b style="font-family: Arial, Helvetica, sans-serif;">15) Untouchable</b><span style="font-family: Arial, Helvetica, sans-serif;"> dir. Olivier Nakache & Eric Toledano</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4SQyKUwtlca7xThmQwGEpoIHhhpz1mCwNTJx0_mOqktJiPxj5DwOh8ZyGZuYkxvD86A7qgC0h28kXv2FI8pGZtCTRnrnSQt3DNGY6QLVc6rG4PF8wQ5vVg62YnM_GGLkLDqqtZcYeaPi/s1600/Untouchable+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4SQyKUwtlca7xThmQwGEpoIHhhpz1mCwNTJx0_mOqktJiPxj5DwOh8ZyGZuYkxvD86A7qgC0h28kXv2FI8pGZtCTRnrnSQt3DNGY6QLVc6rG4PF8wQ5vVg62YnM_GGLkLDqqtZcYeaPi/s320/Untouchable+4.jpg" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I completely understand why
this wasn’t nominated for an Oscar and I wish the French had put forward ‘Holy
Motors’ (which I really liked) instead of this film but oh well. I hear
Hollywood might remake it, which doesn’t surprise me (though I wish they
wouldn’t) because it so ‘feels like a Hollywood film’ – when I think of French
contemporary cinema (I haven’t seen much at all so I may not know what I’m
talking about) I think of quirkiness - as though they were trying to do the New
Wave again - intimately but never over
dramatically. This film is corny, it’s sentimental, at first glance it’s like a
<st1:place>Hollywood</st1:place> film. Yet, it feels so French. Like some notable
moments, for example when Driss humorously shaves Philippe’s moustache &
beard. Jokes are so brutally honest, and the piano-based score by Ludovico
Einaudi not only accompanies the story but entwines with it and pulls out raw feelings,
but never goes over-the-top. I was expecting corny typical Hollywood-imitating
drama but I got something slightly more exquisite. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>14) The </b><st1:place><st1:placename><b>Deep</b></st1:placename><b> </b><st1:placename><b>Blue</b></st1:placename><b> </b><st1:placetype><b>Sea</b></st1:placetype></st1:place> dir. Terence Davies<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQyVr_8rAMIOpVo7a2ilHFXQpfAL_5mhQwt8j7MaKqjtF-7iGcC8UyvwSPKINWotNQ7qLOKc7MganRsgNTQKpKZUD-TUuPZHxls3ApRrMvOJ4IdoEIfg7h4iMGA9z08sPnxBYp53vSXHNb/s1600/Deep_Blue_Sea1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQyVr_8rAMIOpVo7a2ilHFXQpfAL_5mhQwt8j7MaKqjtF-7iGcC8UyvwSPKINWotNQ7qLOKc7MganRsgNTQKpKZUD-TUuPZHxls3ApRrMvOJ4IdoEIfg7h4iMGA9z08sPnxBYp53vSXHNb/s320/Deep_Blue_Sea1.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was such a long time ago
that I saw this film but I still remember how ‘British’ and poetic I felt
everything to be, poetry not from what the characters said but more so from
what they never said, from the way they looked at each other (especially Rachel
Weisz, who was brilliant) and from the pauses between dialogue. I loved the
parallel between Hether’s self destructiveness and the scenes of destruction
from the war. And at the end when she loses everything she could easily have
crumbled to pieces again, yet she draws open the curtains in such a liberating
manner and the camera pans to a destroyed house in comparison. The underground scene
when she remembers the people gathered there to escape the bombing singing
together was magical and I still remember it vividly.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>13) Django Unchained</b> dir. Quentin Tarantino</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXkrnhDN7xDTLG71vMLJnkGgBnUktDJGN9uf5ZDGisiXdN3gPTao-wewrnb0m9YBvN2O_3vdZ9-D6SBJ2gan_lsg9NkmxEBZVvTXw1BjbGCz-oLCgwkSdJdAeE5YJ9ZSZ5o2Bz4J65QyE/s1600/django-unchained-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXkrnhDN7xDTLG71vMLJnkGgBnUktDJGN9uf5ZDGisiXdN3gPTao-wewrnb0m9YBvN2O_3vdZ9-D6SBJ2gan_lsg9NkmxEBZVvTXw1BjbGCz-oLCgwkSdJdAeE5YJ9ZSZ5o2Bz4J65QyE/s320/django-unchained-2.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I enjoyed this film, it was
entertaining and the performances by the supporting cast (Christoph Waltz,
Leonardo DiCaprio & Samuel L Jackson) were absolutely terrific. Christoph
Waltz was the ‘good guy’ (which worked out well as we are comforted by the knowledge that this gun-loving dangerous man is on our side) and he supported Jamie Foxx so
well. Jamie Foxx by the way did a good job too, but his character Django
doesn’t actually give much input (until the final act) which I think is supposed
to be the case because he’s like a vessel,
he’s the subject and the story is what happens to him (does that make sense?) Leonardo
DiCaprio was the best thing about the film, playing the outrageously evil
Calvin Candie with just the right amount of drama. He didn’t get nominated though,
surprise surprise. And Samuel L Jackson’s character was so sinister and was
probably in fact the truest form of evil in the film. He is able to sense
immediately that there is something going on between Django and his wife and
where we (at least I) thought he might let them off or even assist them, he
‘betrays’ his own people/race and chooses to be loyal to Candie. I wish they
had developed his character more and shown more of him. In fact not just him
but Leo as well, and perhaps Waltz. That was my problem with the film. Instead
of going on and on extending scenes I felt they really didn’t need to, I wish
they’d shown more of the characters. And the final act was disappointing. It’s
Tarantino so there’s supposed to be mindless violence, but it was a little too
all over the place for me after Leo and Waltz died. All hell broke loose. I
think the satirical approach was supposed to emphasise the true horrors of
slavery and the violence involved, but it wasn’t successful. If I am to take
the film as pure entertainment and nothing more, it’s still disappointing
compared to his previous film ‘Inglorious Basterds’ for example, which was so
epic and just absolute fun. Compared to his previous films, this story was too
simple.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>12) The Grey</b> dir. Joe Carnahan<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0frtW09ruhXQfg9mL9QCWQz1HAZbt4ZxzXGzWdVx_PggVlUsqXjoi3WM8RTL4KlLOpXWhSV4MxpuZJfIEOlq_e6CIaFk5BPHTlQe1dcXdL_wL5G_nfXNYQiPiPTHuHvMsS4MAiuEIZE8/s1600/The-Grey-Gear-Patrol.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0frtW09ruhXQfg9mL9QCWQz1HAZbt4ZxzXGzWdVx_PggVlUsqXjoi3WM8RTL4KlLOpXWhSV4MxpuZJfIEOlq_e6CIaFk5BPHTlQe1dcXdL_wL5G_nfXNYQiPiPTHuHvMsS4MAiuEIZE8/s320/The-Grey-Gear-Patrol.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!</span></b><br />
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I didn’t see this until
recently because of the utterly misleading trailer. And Liam Neeson. It looks
like just another survival film except this time there’s wolves as well –
awesome! So of course the people who went to see it expecting that were
disappointed. It’s not supposed to be taken literally at all. The characters
are supposed to die one by one at each obstacle, Liam Neeson is supposed to be
the only one alive at the end, the howling and growling of the wolves are
supposed to sound over-the-top, it’s supposed to be unrealistic. Yet not have
the plot lose its validity. Because it’s all a metaphor for life and death.
Fear of death. Fear of living. The twist at the end was revealed so perfectly
at the perfect time which turned everything on its head. The film was a
wonderful little surprise and I wish they’d marketed it for the correct audience.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>11) Looper </b>dir. Rian Johnson<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNGge9melaoUBHLGk9qHtqSgH-X3eoktkYERhpoVHNKaNOnm8rUmg0hBoM2_EdVmUTRsqvr4yWgDUkRsk66cuOSdAZyy16Ey4dgJs2r6H1pgnonyz9duVb2jtvwmzjGHGh1Vgw4yGWiIVx/s1600/120927_MOV_LooperEX.jpg.CROP.rectangle3-large.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNGge9melaoUBHLGk9qHtqSgH-X3eoktkYERhpoVHNKaNOnm8rUmg0hBoM2_EdVmUTRsqvr4yWgDUkRsk66cuOSdAZyy16Ey4dgJs2r6H1pgnonyz9duVb2jtvwmzjGHGh1Vgw4yGWiIVx/s320/120927_MOV_LooperEX.jpg.CROP.rectangle3-large.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I don’t usually enjoy science
fiction/action but I was taken by surprise because of the originality of this
film’s idea. Though, the concept of needing to send people back in time to kill
them, no matter how strict or whatever the government has become in the future,
is ridiculous. In fact there’s tons of plot holes and absurdities, but you know
what, none of it matters! As Bruce Willis actually said at some point in the
film, “I don’t want talk about time travel because if we start talking about it
then we’re going to be here all day.” Which I thought was a way of Rian Johnson
telling us that he’s aware it doesn’t make total sense but let’s just sit back
and enjoy. And that is so easy to do here because of this whole enthralling
world and idea that he has brought to life. The film has been structured well I
think, I loved the pacing. Whether or not everything was accurate, young Joe
(Joseph Gordon-Levitt)’s actions changing Bruce Willis’ memories, that whole
idea of having your present self and older self existing in the same time frame
facing each other is so wonderfully absurd. The Cid storyline was very
entertaining. The idea of needing to stop/kill a little boy into becoming a future
evil force, his emotionally being affected by his parent/step-parent and the
love that he is given, his rage and his supernatural powers, all borderlining
sentimentality, for some reason reminds me of Japanese manga/anime and it’s
refreshing to see it here in this context, making it an all the more unique
experience. And the effort put into physically changing Joseph Gordon-Levitt’s
face without using CGI to look more like Bruce Willis’ has truly satisfying
effects for viewers. A brilliant scene that still remains vividly in my mind is
the one where older Seth’s body parts begin to disappear one by one, starting
with his fingers and then his nose. That was truly horrifying!<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>10) The Impossible</b> dir. Juan Antonio Bayona<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXDIbiqILPWYIwQhwC-9juFxT2cVF38s0x4ZTITNXJ5kJ8R1L09muJogw9XswEVnnmFrJaRmFHyJiuf1_4MB0Zrqsjf2iSra0PbLQ2T4kLIPZHRxOrO6jE8a-6Ez6Dn57I5GgT5CyZw6lZ/s1600/the-impossible-naomi-watts.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXDIbiqILPWYIwQhwC-9juFxT2cVF38s0x4ZTITNXJ5kJ8R1L09muJogw9XswEVnnmFrJaRmFHyJiuf1_4MB0Zrqsjf2iSra0PbLQ2T4kLIPZHRxOrO6jE8a-6Ez6Dn57I5GgT5CyZw6lZ/s320/the-impossible-naomi-watts.jpg" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is based on the true
story about one family’s experience of the 2004 Indian Ocean Tsunami. Before
watching the film I wasn’t so sure if it was appropriate seeing as it was such
a terrible event, which also for me as a half Japanese person is reminiscent of
the 2011 tsunami/earthquake which hit Japan, but I decided to see it and I’m
glad I did. Like the title suggests, the family are torn apart but miraculously
all survive and find each other. It’s amazing because it’s a true story and
therefore I think it was necessary in fact, for people to see it as a symbol of
hope. That such an extraordinary thing can actually happen. And towards the end
as the family make their way onto their private plane provided by their travel
insurance, as they walk past the masses of people in despair, grieving and in
agony, it reminds us, in case anybody had got carried away, that this is in no
way a happy ending. I’ve seen some people complain about the sappy use of the
camera, the sentimentality in how for example the sound is muted when Naomi Watts
is thrashed under water etc, but I don’t know how to respond to that… I suppose
I agree. When Tom Holland, his younger brothers and Ewan McGreggor find each
other outside the hospital, that is another example of extremely cheesy filming
and use of music. But the truth is that they did find each other, the miracle
did in fact happen, so why not be dramatic with the use of camera was the
mentality behind the director I suppose..? But at the end of the film I do not
feel like any of them had been glorified in any way or presented like heroes.
So I suppose it’s okay. Naomi Watts was wonderful, as was Tom Holland who
played the eldest son.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>9) Beasts of the Southern
Wild</b> dir. Benh Zeitlin<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUcVc0Mn1YisY4t6VC8VUmV8ZK9wZs8yHBnJOADHplX-t1oD9KFyD1nBmjY7OlpHTPys8WBysfcyGxVJNqZtUYDzQB_uznYn9m9EUQLcxWbL98BCrkHMmPSyXWnjgYSgmomuRmGJ_4fvM/s1600/6a00d834515c9769e2017615a3a7ad970c-500wi.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUcVc0Mn1YisY4t6VC8VUmV8ZK9wZs8yHBnJOADHplX-t1oD9KFyD1nBmjY7OlpHTPys8WBysfcyGxVJNqZtUYDzQB_uznYn9m9EUQLcxWbL98BCrkHMmPSyXWnjgYSgmomuRmGJ_4fvM/s320/6a00d834515c9769e2017615a3a7ad970c-500wi.png" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Once again I didn’t see this film until
recently because I thought it was going to be just a child point of view
fantasy film. Yes it was that, but I had no idea how rich and mystical the
fantasy was going to be. It’s ultimately about Hushpuppy ‘growing up’ but the
beauty of this film is in how it’s structured and told visually from her perspective
and the layers of the characters and what everything in the film represents.
Everybody will take something different from it and have completely different
experiences. The performances are incredible, especially <span style="background: white;">Quvenzhane Wallis (though nominating her for an Oscar is a bit too much I think).<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">8) Skyfall
</span></b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">dir. Sam Mendes<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUPXUe8sT46piu4kEfSbX94EfyHAZsbUxs6GV4mk9_wEuyru5H5p8cR8Mrqwb-cK2psKZ-TFL4TAmCcELSlvNwWJRMQQh-y2Ng2P2frKd4FclANTVpTgfXnCww3QMt2gpm54X-AThmWlbq/s1600/Skyfall-007.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUPXUe8sT46piu4kEfSbX94EfyHAZsbUxs6GV4mk9_wEuyru5H5p8cR8Mrqwb-cK2psKZ-TFL4TAmCcELSlvNwWJRMQQh-y2Ng2P2frKd4FclANTVpTgfXnCww3QMt2gpm54X-AThmWlbq/s320/Skyfall-007.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, Helvetica, sans-serif;">Sam Mendes
did a truly amazing job here and it was fitting as the 50<sup>th</sup>
anniversary Bond. Thematically, the suggestion that Bond was becoming too old
was of course representative of the franchise itself as well. The opening
chase/fighting sequence was awesome and gripping and the transition from his
falling into the water into the opening credits with the brilliant ‘Skyfall’
sung by Adele gave me goosebumps. Javier Bardem was introduced in that
memorable continuous shot and in that scene facing M the acting was top-notch.
So wonderfully chilling and creepy! Ben Whishaw was an interesting addition as
Q, though to be honest his hacking scenes were a bit ridiculous. But I loved
his introductory scene with Daniel Craig. At the end after reaching Skyfall the
disappointment started. I read that the role played by Albert Finney was
actually originally written for Sean Connery, and that seemed ridiculous at
first but now that I think about it, it would’ve been so awesome! Imagine the
reactions of the audience! It would have made no sense in that he is Bond so it
isn’t possible, but it would’ve instantly translated to us as the ‘father
figure’ - Bond going back to his roots. Instead we get Albert Finney appearing
suddenly out of nowhere and sticking around for the rest of the film, still
there even in the final scene when M dies. The whole M mother figure dying in
his arms was nice, and I really liked the moment when Javier Bardem sees the
tombstones of Craig’s parents. It’s sentimental but not too sentimental. Overall
a great story with fitting themes and little things like the Aston Martin, the
final scene which ties nicely to the very first Bond film, the brilliant
cinematography, the all-star cast and soundtrack which nicely complements the
film, make Skyfall not just a great Bond film but a great film on its own. If a
Bond film was ever going to be nominated for Best Picture this had to be it,
but it wasn’t. I guess it will never happen then :( </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">7) The
Imposter</span></b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> dir. Bart
Layton<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-3juHr-WLfUqXC8JKZa_AKtAANFgkWjq05hnMflc3PTE3L7Xyg8Fo65n4_ynej41Vce4vpJ1XAqe4cWTVn1WrqmH4BkYkPK8LeSz_tR4hKfZLWS-FOub9HOuXOt9a7E_hRQ4f2sVxoOe6/s1600/the-imposter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-3juHr-WLfUqXC8JKZa_AKtAANFgkWjq05hnMflc3PTE3L7Xyg8Fo65n4_ynej41Vce4vpJ1XAqe4cWTVn1WrqmH4BkYkPK8LeSz_tR4hKfZLWS-FOub9HOuXOt9a7E_hRQ4f2sVxoOe6/s320/the-imposter.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, Helvetica, sans-serif;">What a
bizarre and incredible story! This is a brilliant example of the unreliable
narrative as it’s told from the perspective of this pathological liar. It’s a
documentary but it really perfectly combines documentary style and film style, for
example overlapping his mouthing of words with his recollections (reconstructed
footage) which has such a sinister effect. Later in the film there is the whole
suggestion of the family murdering their son and things had been shot in a way
to make that seem believable. Which brings me to the point that if they were in
fact innocent I feel slightly bad for them. But I suppose it’s been made clear
that this is merely his account of what happened and thus we probably should
doubt him seeing as he’s a natural ‘imposter’. I wish they hadn’t ended the
film like that though, so ambiguously. It leaves this eerie and disturbing
feeling which is probably good, but it’s so unsatisfying.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">6) </span></b><st1:place><st1:placename><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Moonrise</span></b></st1:placename><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> </span></b><st1:placetype><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Kingdom</span></b></st1:placetype></st1:place><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> </span></b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">dir. Wes Anderson<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu-OGg8JS1L5pWDrn4W4aYswjhZNnZQIUeN6if_vo2lAVjzA4j2OIlAgtLlCN6OXK2NhZTObrGHuvUC2swtCxPKCElAmCrCORCDCJJFlF3dq4e9tpvQ7g9Kw_scBuvS__baNhefegnDVMQ/s1600/moonrise-kingdom-05.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu-OGg8JS1L5pWDrn4W4aYswjhZNnZQIUeN6if_vo2lAVjzA4j2OIlAgtLlCN6OXK2NhZTObrGHuvUC2swtCxPKCElAmCrCORCDCJJFlF3dq4e9tpvQ7g9Kw_scBuvS__baNhefegnDVMQ/s320/moonrise-kingdom-05.jpg" width="320" /></span></a></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, Helvetica, sans-serif;">This was
such a sweet and adorable film about innocence and also I think hope, told
straightforwardly but enchantingly. I loved the strong sense of place and the
colours & general cinematography of the film. The supporting cast was an
ensemble of some great actors – Edward Norton, Bruce Willis, Bill Murray etc,
but the 2 leads Jared Gilman and Kara Heywood weren’t overshadowed at all, in fact
they really shone. Wes Anderson made use of their inexperienced (they were both
first time actors) innocence and freshness to his advantage, combined it with
magical Wes Anderson-ness and came up with this wonderful film which felt
play-like. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">5) Argo</span></b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> dir. Ben Affleck<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaxyb0u6kEGDstvjK9Kanzx3yy7dG008uNRum4LlGg6KIpeCQDsMOYdIf5eC9AROdhf41b8e8TlAsP6HoxSHXG0iWV5iX87XufFei8s1YcwgHmtrRvyIIK5MmhRlHNVgCViKBhWBdL6hC/s1600/argo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaxyb0u6kEGDstvjK9Kanzx3yy7dG008uNRum4LlGg6KIpeCQDsMOYdIf5eC9AROdhf41b8e8TlAsP6HoxSHXG0iWV5iX87XufFei8s1YcwgHmtrRvyIIK5MmhRlHNVgCViKBhWBdL6hC/s320/argo.jpg" width="320" /></span></a></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, Helvetica, sans-serif;">This had me
on the edge of my seat pretty much the whole time. I loved the script (by Chris
Terrio), loved the suspense, loved how fluid it felt and loved the paralleling
between scenes of the hostages and the whole science fiction film element. This
was based on a true story but it was clear some things were altered, added or
removed in order to make the film a more dramatic experience, which is something that I've grown to not mind (depending on the subject matter). In this case it only annoyed me
towards the end at the runway of the airport because what was being shown was just impossible
and ridiculous, but overall Argo was an extremely engaging and tense, enjoyable
experience and I was hooked from the introductory sequence combining comic book
strips and documentary footage.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">4) Seven
Psychopaths</span></b><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> dir. Martin McDonagh<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiz1bVLMFGKLdy12Mfk1IzvOWvihYmvX7BL_CorZQzhDKFK4tnT8ZNlPINKVKBMkdpoqacU7PO7DxZiEUNoWZglXIQ6fdEeBWBaiX95wIKAhjOjegwIN8SzAPY3kLMGHs4NoRj7oQtFPfm/s1600/44692000001_1788823007001_SevenPsychopaths-TRL1-Texted-Stereo-dvcpro-hd.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiz1bVLMFGKLdy12Mfk1IzvOWvihYmvX7BL_CorZQzhDKFK4tnT8ZNlPINKVKBMkdpoqacU7PO7DxZiEUNoWZglXIQ6fdEeBWBaiX95wIKAhjOjegwIN8SzAPY3kLMGHs4NoRj7oQtFPfm/s320/44692000001_1788823007001_SevenPsychopaths-TRL1-Texted-Stereo-dvcpro-hd.jpg" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This was thoroughly
entertaining and also very unique. It’s about a screenwriter struggling with
writer’s block trying to write a screenplay called ‘Seven Psychopaths’ based on
the 'psychopathic' people around him and the things that consequently happen. There’s
a lot of Tarantino-esque violence but as the protagonist Colin Farrell seems to feel, I
think it strives ultimately to say something about such violence, raise
questions, even suggest that it's stupid, and I think it succeeds humorously while being a violent and entertaining film. Which I've explained badly but I'm hoping you'll understand if you see the film. The characters were brilliant, notably the supporting actors Sam
Rockwell and Christopher Walken, and once again as with Martin McDonagh’s previous
film 'In Bruges', I love the dialogue! <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>3) Life of Pi</b> dir. Ang Lee<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwKXjITouUTx25a7txQ2MhMDiqq9E9ls7JH73UOCdha_rYDEBTABHZqJvEWKB_fuArlSGNKwC-htt8KWu4cFXqnRMxRWxaYeO1KWtlxM4hcQ1FlUTr9yTxKls-ChqYoKiQoFmlh4PZTN7/s1600/Life-of-Pi-Richard-Parker.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwKXjITouUTx25a7txQ2MhMDiqq9E9ls7JH73UOCdha_rYDEBTABHZqJvEWKB_fuArlSGNKwC-htt8KWu4cFXqnRMxRWxaYeO1KWtlxM4hcQ1FlUTr9yTxKls-ChqYoKiQoFmlh4PZTN7/s320/Life-of-Pi-Richard-Parker.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I really wish I’d seen this
in 3D. I’ve never seen a film in 3D so I can’t say for sure but the film really
made me think that if it’s for a film like this, if 3D is going to be used
‘correctly’, then it will no doubt be spectacular. I never thought I’d like a
film with such heavy use of CGI so much. It really surprised me and that’s why
it’s climbed this high up the list. By the time Pi and the tiger were alone in
the little boat there was still half the film left to go so I wondered what was
going to happen. How is Ang Lee going to stretch this section out for so long
to depict the sense of endlessness and starvation without boring us? But one
after another came visual spectacles which just wowed and stunned me. The beginning part of the film was nothing exciting but after finishing the film I accepted it,
not in the sense that I was 'forgiving' it because the rest of the film turned
out to be great, but because those themes of self-searching, growing up and
seeking a 'God' needed to be presented to us first for us to make sense of it
all in the end. The ending initially disappointed me because I just couldn’t
believe they’d told this entire magical story to us and then in a matter of
seconds said that in fact none of it actually happened, but then I soon
understand that was the point. The story isn’t a survival film or a fantasy film
but is a metaphor for faith; what we experience and what we feel depends on
whether or not we have faith and where it lies in. Suraj Sharma did an amazing
job in his debut feature film. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>2) Silver Linings Playbook</b> dir. David O. Russell<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7v_UDAEuNQT-s8bASeLJdG-Ezt5x1roFKDAX9TMJpew9UtgEGAZtGgRddI957wx2Ln_dht8pueE4HJNjXVbUTqDhk7pECepqhSMv3d97x-Fvf2X202LCXp_uIIUIAMAdu3sGOLT9t9o0b/s1600/silverlinings_a.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7v_UDAEuNQT-s8bASeLJdG-Ezt5x1roFKDAX9TMJpew9UtgEGAZtGgRddI957wx2Ln_dht8pueE4HJNjXVbUTqDhk7pECepqhSMv3d97x-Fvf2X202LCXp_uIIUIAMAdu3sGOLT9t9o0b/s320/silverlinings_a.jpg" width="320" /></span></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">SPOILER ALERT!!!<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This film is so brilliantly
done. Ultimately in terms of genre and plot structure I suppose it's pretty
conventional and predictable, but if this makes any sense, at the same time it
feels so unconventional and unpredictable as it is executed so well in every
aspect. It’s not just a love story but it’s also about family, notably father
and son. They even had to cast Jackie Weaver as the mother even though I’m sure
anybody could’ve played her, but just to make everything perfect they did – the
film’s been nominated for all 4 Academy Award acting categories. The American
football element was nice, the dance element was surprising but wonderful, and
the dance itself is a bipolar dance with ‘ups’ and ‘downs’. I don’t know anyone
with bipolar but I’m very familiar with mental health issues and I thought
Bradley Cooper and J-Law both played their characters believably and
sympathetically. This theme was what attracted me to the film in the first
place. I loved the ending - the characters really deserved it. I don’t think
it’s just corny and irrationally concluding things to make it a ‘feel good
ending’ – the brief scenes of Cooper and J-Law being happily together at
the end having found each other also conveyed a strong sense that the road
ahead will continue to be bumpy. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>1) Holy Motors</b> dir. Leos Carax<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhTywZmHkd7Hlhd6dFDmwcid7zw0ZUGY1EBnkui4N_PzNqVSMRIyE5wuyFRIDomDkkd9T2N5p65e4nd9Ucj0y0aMgtT127V0oxFCmY8ZCYljYZPB9TFP6tEecfNhsEFLs8bK89B2plTItg/s1600/Holy-Motors-400-.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhTywZmHkd7Hlhd6dFDmwcid7zw0ZUGY1EBnkui4N_PzNqVSMRIyE5wuyFRIDomDkkd9T2N5p65e4nd9Ucj0y0aMgtT127V0oxFCmY8ZCYljYZPB9TFP6tEecfNhsEFLs8bK89B2plTItg/s320/Holy-Motors-400-.jpg" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For the first half of the
film it was more like Holy Shit because I wasn’t comprehending anything. And
there isn’t any specific moment in the film where things are made clear, we all
make our own interpretations, and the interpretation I made was that this film
was about how humans ‘act’ their lives as though they were on camera, and
nowadays cameras are literally scattered around everywhere and we
subconsciously play characters as opposed to actually live. That seems like
quite a bland and simplified explanation, but when I was watching it I’m sure I
had a more interesting eureka moment of understanding. Of course it's also a tribute to cinema itself I think, stretching out as far as possible to show us what film can do. Holy Motors was certainly the most mesmerising, mind blogging and
satisfying film of the year for me! <o:p></o:p></span><br />
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<br />
Note: I haven't seen Paul Thomas Anderson's 'The Master' which looks like the kind of film I'd like. I think it may have been on this list had I seen it.</span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-18983667864331129372012-11-26T16:20:00.001-08:002016-02-22T03:52:03.295-08:00Film noir & neo noir – conveying a sense of the past<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Defining film noir, a genre of
film stretching from the 1940s to the late 1950s, has been a difficult
challenge for many critics, so much so that cinema historian Mark Bould regards
it as an “elusive phenomenon…always just out of reach<a href="file:///D:/Noir%20Essay%20A.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>”. It was brought to
<st1:city>Hollywood</st1:city> by Europeans after WWII,
with ideas, feelings and of course filming techniques different to those of <st1:city>Hollywood</st1:city>
so far. Intertwined with the hard-boiled crime fiction stories and attitudes
born in the <st1:country-region>US</st1:country-region>
during the Depression already evident in 20s and 30s gangster films and within
the setting of war time disillusionment in <st1:country-region>America</st1:country-region>,
often film noir is about or refers to the war. If not literally war related,
there is almost always a dominant sense of nostalgia, looking back to earlier,
more innocent and simple pre-war times. Several techniques and devices have
been used by film-makers to convey such senses of the past.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYRr9_eSR_yUcrF7hx-3krkF-gI6VEK1Vx_4m9Ailjw6Nb-EsvzR6ZkoFYJ8XfQirhFxflU0ttHR_rPZneRsVrgD1_p13hmiT85PZbf4UA9G-2awXK-18zx214bc7wgoWj-oYUsVqqI31K/s1600/third+man.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYRr9_eSR_yUcrF7hx-3krkF-gI6VEK1Vx_4m9Ailjw6Nb-EsvzR6ZkoFYJ8XfQirhFxflU0ttHR_rPZneRsVrgD1_p13hmiT85PZbf4UA9G-2awXK-18zx214bc7wgoWj-oYUsVqqI31K/s320/third+man.png" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">One of the major influences on
film noir is German Expressionist cinematography. Its detailed,
anti-naturalistic mise-en-scene and symbolism which create a dark, sinister
mood was brought to </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">America</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">
by emigrating German film-makers during the war when the Nazis gained power. The
plots of Expressionist films also matched this dark and disillusioned visual
style, often dealing with madness, insanity and paranoia</span><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">. Noir is all about darkness and hopelessness; the protagonist looks
back to a time in the past when times (or he himself) used to be more innocent,
mirroring the American crisis. An example of sheer doom can be seen in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">They
Live by Night</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1948); Bowie longs for a simple life and wants to be good,
goodness being what Bowie’s love interest represents, but their destiny is clear
to the audience from the beginning and as expected, he is killed. A good
example of visual Expressionist influence is in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">The Third Man </i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">(1949)
which </span><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">is arguably</span><span style="color: red; font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">British noir</span><a href="file:///D:/Noir%20Essay%20A.doc#_ftn2" name="_ftnref2" style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="color: black; font-size: 11pt; line-height: 115%;">[2]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">,
with its dramatic angles and shadows particularly evident in the chase sequence
in the sewer at the end. The eerie house in Hitchcock’s </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Psycho</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1960) is
also a fine example of expressionism, though this film is regarded as neo noir
rather than classic film noir, if noir at all (Hitchcock is not prominently
associated with noir). Not only is the feeling eerie, but the fact that we
never get a clear view of within the house, and certain shots such as the
bird’s eye shot of the ‘old lady’ rushing out of the room to kill the
detective, and the same when Norman carries his mother down the staircase, are
techniques used to achieve this uncanny feeling.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">Robert
Ebert states that “the very essence of noir is that there are no more heroes.</span><a href="file:///D:/Noir%20Essay%20A.doc#_ftn3" name="_ftnref3" style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="color: black; font-size: 11pt; line-height: 115%;">[3]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">”
The gangsters of noir look back to an earlier life when they used to be ‘good’,
but ultimately their innocence is lost, just like the American post-war
soldiers. </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Out of the Past</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1947) begins with Jeff the protagonist in a
small simple town, having already tried to escape his dark past. The truth
catches up with him and he returns to the city to clear up the mess he made,
but he comes back, still with hope of escaping; what follows is doom. Another
example of nostalgic longing in noir is </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">On Dangerous Ground </i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">(1952).
Troubled cop Jim is sent to the snowy countryside to solve a murder case, and
there he meets love. After the case is solved he returns to the city, but in
order to be with Mary and achieve happiness he comes back to the countryside
(the snow and the countryside represent simplicity and purity). Though there is
no doom here, Mary, who is completely innocent, is blind. We feel sorry for
her, and it might be that handicap stresses virtue and goodness (there is also
a deaf boy in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Out of the Past</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Another
example of handicap playing a key role is in <i>The Spiral Staircase</i> (1945)
by Robert Siodmak who is a German noir director of Polish origin. The old
silent film at the beginning is a great reference to the past and establishes
right away that Helen loves the past and is somehow stuck in it. It turns out
that she is a mute and thus is unable to escape and live in the present. The
Doctor then drives her home from the cinema in a horse and cart even though
there were cars at this time of course. This use of prop locks her further in
the past. The staircase itself is also of course a key to the past, since many
things happened on it which caused the present impasse. The past is not
necessarily purely lovely, but is also filled with dark secrets. This
traumatises Helen and turns her into a mute. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">Flashback
is a key technique used in many noir films in order to go back to the past. </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Out
of the Past</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">, already mentioned, consists of flashbacks. </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Dead Reckoning</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">
(1947) is another film, told half in flashback by Captain Rip Murdock as he
looks for his friend who has just returned from the war. Rip doesn’t understand
anything as his friend was a good guy, but as he furthers his investigation he
uncovers his friend’s secret-filled past. The Anti-Semite noir film, </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Crossfire</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">
(1947) is also composed of flashbacks to the war. There is plentiful use of
shadows and harsh lighting demonstrating the effect of Expressionist influence,
though Dmytryk himself stated that it was simply cheaper and “</span><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">a lot
faster to light the people and then throw a couple of big shadows on the wall.</span><a href="file:///D:/Noir%20Essay%20A.doc#_ftn4" name="_ftnref4" style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[4]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">” Recognised as one
of the first </span><st1:place style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Hollywood</st1:place><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> films to deal with racial
bigotry, </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Crossfire </i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">doesn’t just mirror the social problem in </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">America</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">
but highlights it and by turning it into a message, calls for, or attempts to
call for change. Shot entirely at night, it is as though the soldiers are only
able to survive in darkness; in the shabby apartment, the theatre, in
nightclubs etc. These gloomy settings which emphasise loneliness are typical
characteristics of film noir; they “construct a frightening alternative, a life
of permanent impermanence, to the settled, middle-class existence that was
ordinarily purveyed by a Hollywood formerly preoccupied, for sound business
reasons, with picturing ‘sunlit pastures</span><a href="file:///D:/Noir%20Essay%20A.doc#_ftn5" name="_ftnref5" style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[5]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">’”, in other words
portraying the true American mood dominated by “dread and terror.</span><a href="file:///D:/Noir%20Essay%20A.doc#_ftn6" name="_ftnref6" style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[6]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The
dialogue in <i>Crossfire</i> consists of soldiers’ slang, and this is an
obvious link to their immediate past. Another example of language linking to
the past is in <i>The Enforcer</i> (1951). Gangster terminology such as “a
hit”, “a hitman” and “a contract” were not familiar terms back in the 50s to
either the characters or the audience, so the protagonist, D.A Martin’s
confusion as to what these terms mean highlights a sense of nostalgia, looking
back to simpler, more innocent times before the war. There is also empathy
created, not just in <i>The Enforcer</i> but in any film where simple and
honest people are killed by gangsters, which also mirrors the pointlessness of
the war which had killed so many million people and raised a sense of “the
possibility of sudden, undeserved death<a href="file:///D:/Noir%20Essay%20A.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-size: 11pt; line-height: 115%;">[7]</span></span><!--[endif]--></span></a>”
among the people. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">Some
unique devices not mentioned yet used either to escape into or escape from the
past are, for example, in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">The Dark Passage</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1947) where a </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">literal</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;">
escape from the past has been attempted through plastic surgery. Vincent, the
protagonist who escapes from prison in order to prove his innocence undergoes
illicit surgery as his face is too well known in order for him to get anywhere.
Until after his surgery the entire film has been shot from Vincent’s eye view.
The same method of filming has been used in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Lady in the Lake</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1947)
throughout the entire film. Hitchcock’s </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Psycho</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1960) uses the dummy
technique as a bizarre way into the past. Perhaps due to the increasing
popularity of psychotherapy at the time, Freudian ideas and concepts recur in
several of Hitchcock’s films, for example in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">Spellbound</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1945).
Psychoanalysis is used to open the locked doors within the patient, Peck’s mind
and reveal truths and forgotten events from his past. Similarly to the case of
Helen in </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: 36pt;">The Spiral Staircase</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-indent: 36pt;"> (1945), the past has both tangled up and
(later) freed the mind. Usually in noir it is a detective who investigates and
digs up the past.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Though
it is more ‘new wave’ than film noir, <i>Hiroshima Mon Amour</i> (1959)
certainly has strong aspects of noir. It is a clash between the past and the
present, the power of the past and memory. The documentary style conjures up
the past of the war and is haunting; the music and slow pace add to this.
Resnais was influenced by <st1:city><st1:place><i>Casablanca</i></st1:place></st1:city><i> </i>(1942) (we see a café
by that name in the film) and <i>Vertigo</i> (1958),
and <st1:city><st1:place><i>Casablanca</i></st1:place></st1:city> itself is dominated by memory, though not usually called
film noir. Resnais uses all kinds of devices, such as sudden switches from one
person now to another in the past, a hand to another in the past (of the German
soldier Elle was in love with) and so on. One could say that film noir comes
not just from German directors but also the French, for example Tourneur and
Max Ophuls, who was German but also worked in <st1:country-region>France</st1:country-region>. It can be suggested that obsession with the past was a
European thing which travelled with European directors (such as Siodmak) to
America and in a way travelled back with some of them and also influenced other
up and coming French and German directors (e.g. Wim Wenders – <i>Wings of
Desire</i> (1987)). <i>Vertigo</i>, like <i>Hiroshima Mon Amour</i>, also has
the feature of repetition (though its being film noir is debatable) and is
preoccupied with the past; an action recalls a place and a painting recalls a
time long ago, the protagonist, Scottie, has to go back to the place and repeat
the action – this is ultimate noir. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Eyes
Wide Shut</i> (1999) has been described as a
neo-noir film, with traits such as slow speed, a haunting quality and a sense
of mysteriousness perhaps connected with the
past. As it is based on Schnitzler’s <i>Dream Story</i> it looks backs to 1900 <st1:city>Vienna</st1:city>, though it is set in modern-day <st1:state>New York</st1:state>. The past has been evoked firstly through music by
composers such as Mozart and Liszt (also the Romanian Orthodox Liturgy), and
secondly through costume; the masks worn in the ritual scene reminds us of 18<sup>th</sup>
century <st1:city>Venice</st1:city>, whose carnivals are famous and shown in paintings. <i>The
Good German</i> (2006) is also a clear neo-noir film. It is in black and white,
and the music is reminiscent of the 40s and 50s. The past is recreated by bits
of old newsreels (like in <i>Hiroshima Mon Amour</i>), by the ruins of the
city, the costumes and the cars, and by old newspapers. The unusual camera
angles and profiles are similar to those of film noir and German Expressionism.
Lost innocence is a major theme (the final scene is strongly reminiscent of <st1:city><st1:place><i>Casablanca</i></st1:place></st1:city>),
and there is the debate of good and bad, already evident in the title, <i>The
Good German</i>. This again links to <i>Hiroshima Mon Amour</i>, where Elle’s
past lover was a German soldier and she falls in love with and confides in Lui,
the Japanese man. Jason W. Ellis states that the “atomic bomb that levelled <st1:city>Hiroshima</st1:city>
also blasted openings into a netherworld of consciousness where victory and
defeat, enemy and self, threatened to merge<a href="file:///D:/Noir%20Essay%20A.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[8]</span></span><!--[endif]--></span></a>”, the ‘netherworld
of consciousness’ in which the “distinction between traditional values
disappeared is also an apt description of the moral atmosphere of film noir.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">To
conclude, film noir and neo noir convey a strong sense of the past; usually
doom which mirrors how things really were in <st1:country-region>America</st1:country-region> after the war along with a nostalgic longing for a simpler
past and/or more innocent self. Expressionist techniques such as combinations
of extremely high and long angle shots, vivid lighting, shadows, distorted
perspectives and detailed set designs and complicated plots help achieve the
“sense of limitless darkness<a href="file:///D:/Noir%20Essay%20A.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-size: 11pt; line-height: 115%;">[9]</span></span><!--[endif]--></span></a>.”
Flashbacks are often used in noir films to connect to the past, and several
other devices have been discussed such as dialogue, costume, music, soldiers as
characters, empathy created by innocence being killed or handicapped,
psychoanalysis, and so on. The protagonists, often “guilt-ridden loners<a href="file:///D:/Noir%20Essay%20A.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[10]</span></span><!--[endif]--></span></a>” can never escape
from the “lawlessness and moral uncertainty of the dark city” or go back to who
they used to be. Thus, they “can inhabit only a present that is always already
in the past.” As in Raymond Chandler’s novels, what seemed to be idyllic times
were not actually so because dark secrets were hidden
which have now to be exposed. Almost all 50s noir films referring to the war,
the genre became a space for the soldiers and all others disillusioned and
haunted who couldn’t explain their feelings to their families (indeed,
domesticity had broken down after the war due to women being increasingly
employed in the war effort) to express themselves. While the gangster films of
the 20s and 30s reflected the events going on in <st1:country-region>America</st1:country-region>,
film noir “attacked and interpreted its sociological conditions.<a href="file:///D:/Noir%20Essay%20A.doc#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[11]</span></span><!--[endif]--></span></a>”</span></div>
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<u><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Bibliography</span></u></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Bould, Mark (2005). <i>Film Noir: From </i><st1:state><st1:place><i>Berlin</i></st1:place></st1:state><i>
to </i><st1:place><st1:placename><i>Sin</i></st1:placename><i> </i><st1:placetype><i>City</i></st1:placetype></st1:place>.
<st1:city>London</st1:city> and <st1:state>New
York</st1:state>: Wallflower</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Film Noir Reader 2, essay called British Film Noir, by Tony
Williams</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ebert, Roger<span class="printonly"> “Batman” </span><a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920619/REVIEWS/206190301/1023" target="AnswersQueryWindow"><span style="color: black;">http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920619/REVIEWS/206190301/1023</span></a></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">http://www.independent.co.uk/arts-entertainment/obituary-edward-dmytryk-1103882.html</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">The Philosophy of Film Noir, edited by Mark T. Conard, Moral
Man in the Dark City, <i>Film Noir, the
Postwar Religios Revival, and The Accused</i> R.Barton Palmer</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">William S. Graebner, <i>The
Age of Doubt: American Thought and Culture in the 1940s </i>(New York: Twayne,
1991)</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Jason W. Ellis, The End of Victory Culture: Cold War <st1:country-region>America</st1:country-region>
and the Disillusionment of Generation [<st1:city>Amherst</st1:city>:
<st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Massachusetts</st1:placename></st1:place>
Press, 1995]</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Film Noir, Andrew Spicer <i>Noir
Style<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Film Noir Reader, Paul Shrader, <i>Notes on Film Noir<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br />
<u>Filmography<o:p></o:p></u></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Casablanca (1942) Michael Curtiz<br />
Spellbound (1945) Alfred Hitchcock<br />
The Spiral Staircase (1945) Robert Siodmak<br />
Crossfire (1947) Edward Dmytryk<br />
The Dark Passage (1947) Delmer Daves<br />
Dead Reckoning (1947) John Cromwell<br />
Lady in the Lake (1947) Robert Montgomery<br />
Out of the Past (1947) Jacques Tourneur<br />
The Third Man (1949) Carol Reed<br />
The Enforcer (1951) James Fargo<br />
On Dangerous Ground (1952) Nicholas Ray<br />
Vertigo (1958) Alfred Hitchcock<br />
Hiroshima Mon Amour (1959) Alain Resnais<br />
Psycho (1960) Alfred Hitchcock<br />
Eyes Wide Shut (1999) Stanley Kubrick<br />
The Good German (2006) Steven Soderbergh<o:p></o:p></span></div>
<div>
<!--[if !supportFootnotes]--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br clear="all" />
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a> Bould, Mark (2005).
<i>Film Noir: From </i><st1:state><st1:place><i>Berlin</i></st1:place></st1:state><i>
to </i><st1:place><st1:placename><i>Sin</i></st1:placename><i> </i><st1:placetype><i>City</i></st1:placetype></st1:place>.
<st1:city>London</st1:city> and <st1:state>New
York</st1:state>: Wallflower, p. 13</span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a> Film Noir Reader 2,
essay called British Film Noir, by Tony Williams, pages 242-3</span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920619/REVIEWS/206190301/1023" target="AnswersQueryWindow"><span style="color: black;">"Batman"</span></a><span class="citation">. </span><a href="http://www.answers.com/topic/roger-ebert" target="_top"><i><span style="color: black;">Roger Ebert</span></i></a><span class="printonly"> </span><a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920619/REVIEWS/206190301/1023" target="AnswersQueryWindow"><span style="color: black;">http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920619/REVIEWS/206190301/1023</span></a><span class="reference-accessdate">.</span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a> http://www.independent.co.uk/arts-entertainment/obituary-edward-dmytryk-1103882.html</span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a> The Philosophy of
Film Noir, edited by Mark T. Conard, Moral Man in the Dark City, <i>Film Noir,
the Postwar Religios Revival, and The Accused</i> R.Barton Palmer, p. 189</span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></a> as above, p. 188</span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></a> William S.
Graebner, <i>The Age of Doubt: American Thought and Culture in the 1940s </i>(New
York: Twayne, 1991), 19-20, 19.</span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></a> Jason W. Ellis, The
End of Victory Culture: Cold War <st1:country-region>America</st1:country-region>
and the Disillusionment of Generation [<st1:city>Amherst</st1:city>:
<st1:place><st1:placetype>University</st1:placetype> of <st1:placename>Massachusetts</st1:placename></st1:place>
Press, 1995], 6</span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span></a> Film Noir, Andrew
Spicer <i>Noir Style</i> p. 62</span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span><!--[endif]--></span></a> The Philosophy of
Film Noir, edited by Mark T. Conard, Moral Man in the Dark City, <i>Film Noir,
the Postwar Religios Revival, and The Accused</i> R.Barton Palmer, p. 193</span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><a href="file:///D:/Noir%20Essay%20A.doc#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span><!--[endif]--></span></a> Film Noir Reader,
Paul Shrader, <i>Notes on Film Noir</i>, p. 63</span></div>
</div>
</div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-51270310248651960972012-11-26T15:48:00.001-08:002016-02-22T03:51:38.667-08:00Neorealist cinema<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">The cinema of Italian Neorealism
breaks away from the pure ‘entertainment’ and ‘escapist’ films which were shown
to the public under the control of the fascist regime until then in order to
distract the people from what was going on towards the end of/after the war,
and to keep things in strict order. The true picture was presented – </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">Italy</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">
in a state of chaos, sadness and solitude – with traditional values no longer
meaning anything, much to the shock of the nation. Neorealism turned to social issues
and the pursuit of subjects and themes reflecting the life of ordinary Italian
people.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmVG-RwPfilclz7dtF_tcD3uYyPLe-g2Ec4JABCAxt9qInuvtC_NYTcdjlCLWYn27HLmnu1DWyDkfIyG1sxxJ9_BCV58Uv_q4a4A6EjpvBmwthqLsaUtOtI9lCZ8rrzdT0inGARH8BQmG/s1600/ossessione.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmVG-RwPfilclz7dtF_tcD3uYyPLe-g2Ec4JABCAxt9qInuvtC_NYTcdjlCLWYn27HLmnu1DWyDkfIyG1sxxJ9_BCV58Uv_q4a4A6EjpvBmwthqLsaUtOtI9lCZ8rrzdT0inGARH8BQmG/s320/ossessione.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>‘Ossessione’</i>
(1943) by Luchino Visconti was made at a time when <st1:country-region>Italy</st1:country-region>
was still at war, and the fascist regime was losing popularity. Filmed away
from <st1:city>Rome</st1:city> and immediate government
control, it was the first realist film, presenting how “poverty, over-crowding,
and sordid living-conditions affect the humanity<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[1]</span></span><!--[endif]--></span></a>”
of the people. Until then the principle of films in the 1930s and 40s had been
entertainment in forms of musicals, comedies and melodramas etc, ‘white-telephone
films’ with no propaganda contexts. They were films under the control of the
fascist authoritarian regime used to distract and brain-wash the people.
Therefore the film was a controversy, “it was like a bomb exploding in the
cinema. Filmmakers “felt compelled to undertake a civic project of historical
and socio-cultural revelation after years of fascist propaganda and deceptive distractions.<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[2]</span></span><!--[endif]--></span></a>” People
saw a film which they had not thought possible<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></a>”,
with huge uproar and criticism from the fascists (<span class="apple-style-span">Mussolini's
son Vittorio received the film as a deliberate act of provocation, and stormed
out of the cinema shouting “This is not Italy!”</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></a><span class="apple-style-span">) who, being obsessed with control and order, believed
the film promoted an unstructured society. The ‘tramp’ was an American idea,
one which the fascists would have objected to, as the country was supposed to
be constantly improving, with nobody unemployed, no crime, - nothing ‘wrong’
going on. However what we see is far from the ‘perfect’ society, as young men
are wandering the streets on a morning/afternoon of a weekday in the town
square – why aren’t they working? The gossipy atmosphere and crowd gathering
the moment Gino slaps Giovanna and dismissing as soon as it’s over shows that
these people are bored and have nothing better to do. A picture of lust and
greed of the working-class people has been presented, with Gino and Giovanna
having sex within minutes of meeting, and going on to murder Giovanna’s husband
Bregana for freedom, who is a fascist, evident from when he says to Gino, “we
comrades (camarata – a fascist term)”, though this is not in the subtitled
text. This symbol of ‘killing off the fascist’, who is obese and a joke-like
character, along with the general atmosphere of rebellion in the film, infuriated
the fascists. Visconti himself was a leftist, and he seems to introduce the
left-wing character of the Spaniard (he is not in <i><a href="http://en.wikipedia.org/wiki/The_Postman_Always_Rings_Twice" title="The Postman Always Rings Twice"><span style="color: windowtext; text-decoration: none; text-underline: none;">The Postman Always Rings Twice</span></a></i>
by</span><span class="apple-converted-space"> </span><span class="apple-style-span"><a href="http://en.wikipedia.org/wiki/James_M._Cain" title="James M. Cain"><span style="color: windowtext; text-decoration: none; text-underline: none;">James M. Cain</span></a>, which Ossessione was based on)
to disguise his messages. He offers Gino a helping hand inside the train, and
continuously tries to persuade him to live ‘freely’ like himself. Also, Anita
is obviously a prostitute, which is something that would have not been talked
about – a taboo issue considering the fascist censorship. <i>Ossessione</i>
focused on revealing the details of human behaviour, and to contribute to the achieving
the ‘real’ effect, non-professional actors have been used – this is used in
many neorealist films. Visconti stated that “unless the cinema is nourished by
a profoundly human idea, it is empty.</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></a><span class="apple-style-span">” Also to make
the film seem real in time, there is no hurrying up or concentrated seconds –
what happens is present as it is. The neorealist films that followed <i>Ossessione</i>
in the post-war years were answers to Vittorini’s question, “Shall we ever have
a culture capable of protecting people against suffering instead of just
comforting them?”<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdav9DsgDiTmfT-A75wKHnyY9XT_JJ6kdP729bbgD9po3xMCMMz2URu6LKCKY6TSVYXCi6YWd50fzZBxgaxmKj_t6r51Ao1NzBqAyR9SaEcnWvfe03IbwYva5rEvVMl0cf3ol-TwacgeHt/s1600/sciuscia.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdav9DsgDiTmfT-A75wKHnyY9XT_JJ6kdP729bbgD9po3xMCMMz2URu6LKCKY6TSVYXCi6YWd50fzZBxgaxmKj_t6r51Ao1NzBqAyR9SaEcnWvfe03IbwYva5rEvVMl0cf3ol-TwacgeHt/s320/sciuscia.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"><span class="apple-style-span">The broken down society of </span><st1:country-region>Italy</st1:country-region><span class="apple-style-span"> can be seen clearly in Vittorio De Sica’s <i>Sciuscia</i>
(1946) through the portrayal of the distorted lives of boys who lived on the
streets shining shoes for a living after the liberation, and became corrupt by
being drawn into the black market. There is a picture of displacement (especially
of youth) as nothing seems to be functioning normally - the children are homeless
and are involved in crime (a large amount of the film is set in a juvenile
prison). </span>Other boys have committed crimes from armed robbery and even
shooting their father - realistically, boys on the streets were likely to
become involved in crime. <span class="apple-style-span">The institutions of
authority are corrupt, although, the question of whether it is the institutions
themselves or the people in it that are corrupt can be raised. For example
inside the juvenile prison, the prison warden trades cigarettes for matches
with one of the inmates, and by the swiftness of the action we are meant to
assume that this is something that happens all the time. In the court room,
Pasqual’s lawyer is appointed by the court, simply performing his duty with no
interest or will. His character is completely ridiculous, taking forever to put
his coat on, get up, and say not very much at all – to a comical extent. The
message appears to be that if one has money, they are bound to get a better outcome.
Justice is unfair and unbalanced. The figures of authority usually tend to be
old men, suggesting a need for reform. There is no sign of education at all in
the film; there is one brief scene where children recite mathematics, but it is
memorable that one of the children says aloud the wrong answer. Giuseppe is
obviously at an age where he should be in school, yet he is not. The woman who
comes to visit the boy Napoli in his mother’s place appears to be a prostitute
as she appears flirtatious and gives the guard the ‘eye’ – this is another
element of corruption. There is, however, no fundamental ‘brutality’, as for
example in the prison, when Pasquale is threatened to tell them what he knew
thinking that Giuseppe was being whipped, in fact he wasn’t actually being
whipped – the threatening more manipulative than violent or brutal. However the
director of the prison (is he a fascist?) appears only to be interested in
punishment and not welfare, as he ignores the childrens’ complaints about bed
bugs and the inedible soup. The film, made in a time of hope that institutions
will reform, was a response to the human needs at the time. De Sica aimed for
the audience to sympathise with the two boys, and in order to make this easy,
he picked the two actors out from big castings rather than using the two actual
shoeshine boys he and Zavattani (who had collaborated on the screenplay) had
met on the streets which inspired them to make the film, as they were not
‘good-looking’ enough. The film became a hallmark of neorealist social enquiry,
becoming a ‘method’ of attempting to address a social problem. This was
shocking and controversial as people had not been used to this method at all
due to fascism. <i>Sciuscia</i> won a special Oscar in 1947 (the first foreign
film to win an Oscar) the</span> ‘Honorary Award’ with the description: “the <span class="apple-style-span">high quality of this Italian-made motion picture,
brought to eloquent life in a country scarred by war, is proof to the world
that the creative spirit can triumph over adversity.</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[6]</span></span></span></a><span class="apple-style-span">” There was capacity for new invention in these
neorealist films. Critics of neorealist films have said that neorealist cinema
does not have a solution, but that is not the case, neorealist cinema is “a
complex and vast world, rich in scope and possibilities, rich in practical,
social, economic and psychological motifs.</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[7]</span></span></span></a><span class="apple-style-span">” It is necessary for neorealist cinema to study the
miserable life situations at the time as well as the luxurious, as it was
vividly real. The experience of the film does not stop at the ending credits,
but “continues onto the audience walking out of the cinema, to think about it.</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[8]</span></span></span></a><span class="apple-style-span">” </span>There is no ‘hero’ in neorealist cinema; each
member of the audience is the “true protagonist in life.” The result “would be
a constant emphasis on the responsibility and dignity of every human being.”
The aim of neorealism was “to strengthen everyone, and to give everyone the
proper awareness of a human being.<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[9]</span></span></span></a>”
Similarly to other neorealist films such as <span class="MsoFootnoteReference"><i> </i></span><em>Ladri di</em><span class="apple-converted-space"><i> </i></span><span class="apple-style-span"><i>biciclette</i> (1948),
also by De Sica, a single event or aim is given extreme detail, reflecting the
way the Italian people at the time felt and lived. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZc66Ygj5w9Z6REZt7_54mB1YizIxQm05f_6cU-0EFGAel6TbLmFhWKmZIaCc69L0N25_khl-2oZEs3FcXDqLPGT8KawGRxNcE8rC8Cgn6McRbcQ9yJWQ7v9q8-_ugtoy-QSqPrCkBfn_/s1600/umberto.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZc66Ygj5w9Z6REZt7_54mB1YizIxQm05f_6cU-0EFGAel6TbLmFhWKmZIaCc69L0N25_khl-2oZEs3FcXDqLPGT8KawGRxNcE8rC8Cgn6McRbcQ9yJWQ7v9q8-_ugtoy-QSqPrCkBfn_/s320/umberto.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> </span><i style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">Umberto
D </i><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">(1952) by Vittorio De Sica tells the story of a pensioner desperately
trying to exist with the little money that he has, stressing the humiliations
he suffers and his self-pity for the sympathy of the audience. A key theme of
this film is that of the loneliness and disillusionment of post-war </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">Italy</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">.
Firstly, </span><span class="apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;">Carlo Battisti, who plays Umberto,
despite having never acted before, brings so much emotion into the character –
his facial expressions themselves explain to us the weariness of his life. Umberto’s
desperations to find Flike at the dog pound, “If anything’s happened to him,
I’ll kill her(landlady!)” and excitement to hear that he is downstairs in the
courtyard when Mary comes to visit him at the hospital as he repeatedly chants
“in the courtyard, in the courtyard”, present to us his loneliness and how his
dog is all that he has. The dog could possibly be representing the innocent of
Umberto; while he himself is too proud and embarrassed to hold out his hat to
beg for money, Flike has no problem holding the hat in his mouth and standing
on his heels (though he is made to do it by Umberto). As Umberto’s room lies in
pieces after his return from the dog pound, the furniture upside down and the
wallpaper peeling off, Flike innocently sits on the bed in the centre of the
frame, confused and having no knowledge of what is going on. At the end of the
film when Umberto tries to drag Flike into his suicide attempt, Flike
desperately refuses, whimpering and forcing his way out of his hands,
representing Umberto’s actual will to live, with the force of society and money
on his back telling him he must. Money is what he needs in order to stay in his
room, and money is what he needs in order for Flike to be kept safe at the dog board
house; after deciding not to keep him there after all (as money cannot buy
love) the man says to him,</span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> “more money, less talk…you wasted my time.” He is not
even able to give his dog to the little girl who is overjoyed at the thought,
and will blatantly provide the dog with all the love and care in the world –
because of the mother (adult)’s refusal to take responsibility and go through
the practical and financial troubles of doing so. To emphasise this innocent of
childhood, the final cut of the film is that of children running across the
park laughing and playing, as Umberto and Flike, run off into the distance,
lost with no answers left. As Umberto says to Maria, “I’m tired…(of) a little
of everything”, there is not music in the background, but only the sound of
their voices and the clock ticking in the background (could life for these
people simply be minutes of pain passing by until death?) we feel his
desperation. He is aware that he is a social outsider as he says to her – the
only human being he can confide in and ‘talk’ to, “you need to leave too…” She
responds that she will be kicked out and rejected when found out that she is
pregnant, even by her family. The burden Umberto carries is represented by the
shadow of himself that ‘follows’ him down the staircase as he leaves the house
for his journey to his (attempted) suicide. </span><i style="font-family: Arial, Helvetica, sans-serif; line-height: 150%;">Umberto D</i><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 150%;"> is full of small
gestures needless of dialogue which emphasises the desperate loneliness of
Umberto’s situation – for example, the previously mentioned scene where Umberto
cannot bring himself to hold his hand out to beg for money, and, when a
passer-by actually stops to give him some money, pretends he was merely testing
for rain by flipping it over – is simply beautiful and also very sad. The
brutal killing of the dogs and the dog pound, reminiscent of the gas chambers
of the Holocaust, presents the lack of value for life. The lack of value of
life has also been presented in the scene at the hospital where the sons of
Umberto’s fellow patient, who is dying, comes to visit, and though being told
of his closeness to death, immediately starts talking about financial issues as
soon as the nurse walks away.</span></div>
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<span class="apple-style-span"><span style="font-family: "arial" , "helvetica" , sans-serif;"> The ‘realness’ key to the neorealist
genre has also been present clearly here. There are several scenes in the film which do
not drive the narrative forward but are simply of the characters fulfilling
daily tasks, which are given extreme description and are presented to us in
‘real’ time. For example, the scene where Maria is walking around the kitchen
in the morning, boiling the water as a daily routine, is so memorable because
of its ‘realness’. The grave, slow and haunting cello music in the background
with clear diagetic sounds of the water drops give us a taste of the sense of
‘doom’ that the characters are faced with. The dullness of the daily routines
and the slowness of passing time are presented. A tear rolls down her cheeks,
bringing the emotion to a climax, and as she hurriedly wipes it away when the
doorbell rings, it is suggested that this is what everybody – all the
individuals of the disillusioned post-war Italy is secretly going through. The
continuously appearing ants on the walls are another element of a ‘real-life’ nuisance,
making the film so ‘real’. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz7cUAEOQsvrvsoZ6RMAFYJxloZaToonHAnsmjeXHQhwPLX3rGh7fPkqaDQpZg2MwTYCc1AuUsTGo_1J2WK3IlQ0_wsI5nHirj8o-ypbn1Kf4agJSwzOK6TfXtVL3JJiqzWN0UYg4s01Fs/s1600/paisa.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz7cUAEOQsvrvsoZ6RMAFYJxloZaToonHAnsmjeXHQhwPLX3rGh7fPkqaDQpZg2MwTYCc1AuUsTGo_1J2WK3IlQ0_wsI5nHirj8o-ypbn1Kf4agJSwzOK6TfXtVL3JJiqzWN0UYg4s01Fs/s320/paisa.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="apple-style-span"><i>Paisa</i> (1946) by Roberto Rossellini, is a film
made up of six autonomous episodes which followed the path of the war from the
south to the north, illustrating the state of </span><st1:country-region>Italy</st1:country-region><span class="apple-style-span"> between 1943 and 1945 during the process of the
Liberation. It attempts to “reveal social truth in humanist stories of
individual misery and social injustice</span><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></a><span class="apple-style-span">”, using location shooting and non-professional actors
once again. The physical affects of the war have been presented as throughout
the film there are numerous images of houses and monuments bombed and in ruins.
The film is “a dramatic presentation of </span>a grim reality, unveiled in the
most candid and up-front manner<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></a>.”
The suffering of the people is what brings them all together, and it is
suggested that this connection will erase all social and political differences,
as can be seen in the continuous issue throughout all six episodes – that of
the struggle to understand one another because of the issue of language
barriers. Misunderstanding, however, tragically leads to the death of the
American soldier Joe in the first episode set in <st1:state>Sicily</st1:state>,
and the tragedy continues as Carmela hides his body without the knowledge that
she will be raped by the German soldiers. Religious doubt has also been
presented in the sequence of the monastery, in which religion itself seems to
be an irony, and the Americans seem almost more innocent and sincere than the
Italians. From the ruins and the corruption though, “came the hope of
redemption, as if all this suffering would amend Italians from fascism and from
the historical guilt associated with it<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></a>”,
as they discovered that they shared and were fighting (and dying) for the same
human values. Indeed, outside the films and inside the cinemas, the people
would see their own stories being presented on the screen, and “their
contribution to the reconstruction of the country from a moral, cultural as
well as a material point of view.<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></a>”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">To conclude, post-war
<st1:country-region>Italy</st1:country-region> has been
portrayed as corrupt, distorted and in ruins through neorealist cinema. Contrary
to the ‘distracting’ comedies and melodrama films prior to the introduction of
neorealism, a very true image has been presented, which was shocking and no
doubt ‘grim’, but the realness of these films created a connection between each
individual as they witnessed themselves on screen, and would have built unison
throughout the nation. The everyday problems of the ordinary people have been
presented with an element of beauty – often, spectacles were created from very
ordinary situations (particularly with De Sica films) - the task of the
neorealist artist was to bring the audience to “reflect upon what they are
doing and upon what others are doing – to think about reality precisely as it
is.<a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></a>”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFsgjZmjXjoKfZoTNACydn76eb8WPjv0lb0QzDA2QqnNzQBJAGPtNeNlyPPWTo_Z_irkTDQc8yZpiJP7ay90hcWdwKmYpfONU3N15uS2dcomZkFfSWrDX2MRkSJ_G3ymdCaMsrYygLUz2/s1600/biciclette.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFsgjZmjXjoKfZoTNACydn76eb8WPjv0lb0QzDA2QqnNzQBJAGPtNeNlyPPWTo_Z_irkTDQc8yZpiJP7ay90hcWdwKmYpfONU3N15uS2dcomZkFfSWrDX2MRkSJ_G3ymdCaMsrYygLUz2/s320/biciclette.jpg" width="320" /></a></div>
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<u style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Bibliography</span></u></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>New Cinema in </i><st1:place><i>Europe</i></st1:place>,
Roger Manvell</span></div>
<div class="MsoNormal">
<i style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The Cinema of Italy (24 Frames),</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> <span class="contributornametrigger"><span style="color: windowtext;">Giorgio
Bertellini</span><a href="http://www.amazon.co.uk/Cinema-Italy-24-Frames/dp/1903364981/ref=sr_1_1?s=books&ie=UTF8&qid=1291625155&sr=1-1"></a></span><span class="apple-converted-space"> </span><span class="bylinepipe">and</span><span class="apple-converted-space"> </span><span class="apple-style-span"><span style="color: windowtext;">Gian Piero
Brunetta</span></span></span></div>
<div class="MsoNormal">
<span style="color: windowtext; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">http://www.movie-vault.com/reviews/ossessione/</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">http://www.imdb.com/title/tt0038913/awards</span></div>
<div class="MsoNormal">
<span class="apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Thesis on Neo-realism by Cesare
Zavattini. <i>Springtime in </i></span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><st1:place><span class="apple-style-span"><i>Italy</i></span></st1:place></st1:country-region></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Filmography</span></u></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span class="apple-style-span"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Ossessione</i> (1943)
Luchino Visconti</span></span></div>
<div class="MsoNormal">
<i style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Sciuscia </i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">(1946) Vittorio
De Sica</span></div>
<div class="MsoNormal">
<i style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Paisa</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> (1946) Roberto
Rossellini</span></div>
<div class="MsoNormal">
<i style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Umberto D</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> (1952)
Vittorio De Sica</span></div>
<div>
<!--[if !supportFootnotes]--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br clear="all" />
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span></a> New Cinema in <st1:place>Europe</st1:place>,
pg 18</span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span></a> The Cinema of Italy. Pg 1</span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[3]</span><!--[endif]--></span></a> as above</span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[4]</span><!--[endif]--></span></a> http://www.movie-vault.com/reviews/ossessione/</span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[5]</span><!--[endif]--></span></a> New Cinema in <st1:place>Europe</st1:place>,
pg 18</span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[6]</span><!--[endif]--></span></a> http://www.imdb.com/title/tt0038913/awards</span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[7]</span><!--[endif]--></span></a> <span class="apple-style-span">Thesis on Neo-realism by
Cesare Zavattini. Springtime in </span><st1:country-region>Italy</st1:country-region></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[8]</span><!--[endif]--></span></a> as above</span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[9]</span><!--[endif]--></span></a> as above, page 67</span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[10]</span><!--[endif]--></span></a> The Cinema of Italy, pg 4</span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[11]</span><!--[endif]--></span></a> as above, chapter 3, pg
31</span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[12]</span><!--[endif]--></span></a> The Cinema of Italy,
chapter 3</span></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[13]</span><!--[endif]--></span></a> as above</span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="file:///D:/NR%20Picture%20of%20Italy%20Essay.doc#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[14]</span><!--[endif]--></span></a> as above</span></div>
</div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-34237568040838108112012-11-15T11:17:00.001-08:002012-11-15T11:36:10.530-08:00The Reader (2008) dir. Stephen Daldry<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>*SPOILER ALERT*</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">So randomly I picked out the screenplay of ‘The Reader’ from
my bookshelf and ended up reading it all within a couple of hours. I’d seen the
film before of course and I’d really liked it, but I was so moved by the
powerfulness of the screenplay alone. David Hare writes so beautifully, like he
paints with words. He doesn’t go on and on describing things, but every word is
meaningful and chosen carefully, giving so much sub-text. I re-watched the film
because I was so moved, and I found it a more powerful experience then when I
watched it for the first time several years ago. With film of course you aren’t
given the pleasure of a first-person narrative where thoughts and feelings are
written, but just as well as the screenplay, the visual codes and the
expressions and the silences and the music give so much sub-text, it’s like it’s
all about to burst into your face. Really great performances from all of the
cast by the way. And what greatly written characters in the first place. Such
beautifully written complexities, sensitivities and entrapments… I haven’t read
the novel so I might be talking a lot of shite but bear with. I also have close
to no knowledge of history and am quite naïve and stupid overall. I may also
waffle on too much and then suddenly resort to silly conclusions such as “what
is love, anyway?” but bear with that too. Despite all of my limitations I have absolutely
no intention of offending anyone or being insensitive about the topics and themes
of the story; if I do I’m very sorry.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Anthony Minghella, one of my favourite
screenwriter/directors had originally bought the rights to this film apparently,
I found out today. After 8 years he concluded that he wasn’t going to have
enough time to get round to writing it after all and handed the job to David
Hare. Unfortunately Minghella passed away during the making of this film.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So here are my very disorganised thoughts: </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“Societies think they operate by something called morality.
But they don’t. They operate by something called law. You’re not guilty of
anything merely by working at <st1:place>Auschwitz</st1:place>.” And that is what
Hanna Schmitz was doing. As were so many of the guards. Is this why it had
taken so long for people to start looking back and judge what had taken place? “What
would you have done?” Hannah asks the judge, to which he does not answer. “Should
I never have signed up at Siemens?” Otherwise, how were people able to let it
happen? Whatever film we watch or book we read involving the holocaust, this is
the ultimate question we ask. But the film does not ask the audience to
understand or forgive any of the characters. It might dare us to feel a hint of
sympathy for Hanna, and this feeling of unease is, perhaps, one of the unique
elements and beauties of this story. It asks us so many questions and leaves us
to make our own interpretations. The only certainty we are shown is when Michael
begins to tell his story to his daughter at the end of the film; “in telling is
the release, importance and understanding” says the director. Michael had led a
concealed life of secrecy, just like the protagonists of the stories he read
aloud to Hanna: Odysseus, Hamlet, Faust… (I don’t exactly remember what
these were altered to in the film, I have the screenplay here in front of me). “I
knew you were distant”, his daughter says to him. “I’d always assumed it was my
fault.” This distant character of his may be what led to the failure of his
marriage. There is a line in the screenplay, in the will written by Hanna,
which was excluded from the film but I thought was important. “And tell Michael
I said hello. <i>Tell him to get on with his life.</i>” Michael was never able
to forget or move on. Hanna knew this of course, and had always felt guilty
about it. As well as all the ‘worse’ things she’d done. She kills herself as
she does not have anything more to live for, no more tapes, no more Michael
reading. It doesn’t matter what she feels or thinks. “The dead are still dead.”
And she didn’t want to be a burden to Michael, remaining in his life forever.
So almost light-heartedly she writes: “Tell him to get on with his life.” I can
picture her saying that, “Get on with your life, kid.” And I wish they’d kept
that in because I think it’s powerful. “Have you spent much time thinking about
the past?” Michael asks Hanna, but also to himself. He constantly fights battles
in his head, of wanting to forget, not being able to forget, wanting to try to
understand, not wanting to forgive. This is my take anyway. “How do you live in
the shadow of one of the greatest crimes in history?” How do you judge someone?
How do you love in circumstances such as these? Is it really possible? What does
one do when a certainty or truth they’d thought existed is not actually there
at all? </span><o:p></o:p></div>
Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-36490090420933806002011-11-07T14:26:00.000-08:002011-11-07T14:26:17.265-08:00We Need To Talk About Kevin (2011) dir. Lynne Ramsay<div class="MsoNormal"><i>‘There is no point. That’s the point.’<o:p></o:p></i></div><div class="MsoNormal"><i><br />
</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBs6X_H5tEMoeYu2cZ6nVAolmB4JWAq4RAvrs0rSnm3EcFZkbA4mBu87TOAN1D-6w-Ym5owF9hsln3MOW5Nt06NbYMuPQwm-xsGAVkoUkiwqgZdjKFkhFIA-OaKWzSvK-mmL8La-ZjGUM/s1600/1504111-exclusiva-nueva-imagenes-de-we-need-to-talk-about-kevin-de-lynne-ramsay.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBs6X_H5tEMoeYu2cZ6nVAolmB4JWAq4RAvrs0rSnm3EcFZkbA4mBu87TOAN1D-6w-Ym5owF9hsln3MOW5Nt06NbYMuPQwm-xsGAVkoUkiwqgZdjKFkhFIA-OaKWzSvK-mmL8La-ZjGUM/s400/1504111-exclusiva-nueva-imagenes-de-we-need-to-talk-about-kevin-de-lynne-ramsay.jpg" width="400" /></a></div><div class="MsoNormal">After life, which agonisingly drones on in the case of Eva (Tilda Swinton), she will be going straight to hell. Two years ago her son Kevin (Ezra Miller) went on a killing spree at his high school, and to this day she continues to wipe off his blood - from her walls, her floors, the windscreen of her car…</div><div class="MsoNormal"> </div><div class="MsoNormal">Adapted by Lynne Ramsay from the novel by Lionel Shriver and winning critical acclaim at the 2011 Cannes Film Festival, <i>We Need To Talk About Kevin</i> is an extraordinary piece of filmmaking, depicting the headache and isolation of Eva, the cage she is trapped in and cannot escape from. The discomfort, however, does not turn you away. It grips you fully through the torturous present and past memories of Kevin told in flashbacks. And everything takes her back. Sounds, places, colours… </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Hauntingly slow-paced, it lets us witness events in full detail. Who is responsible? The famous nature/nurture debate is put to question: was Kevin evil from birth, or is it Eva’s postpartum depression, her distant attitude towards him, which created such a monstrosity? Is it even possible to find an explanation? Kevin dares us to do so. This mystery is the very drive of the film, making it a masterpiece of art as opposed to a psychological study. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Swinton’s facial expressions alone tell us the story of Eva’s guilt and torment. Dialogue is minimal, especially in the present; she has nobody. Miller shines as a sinister, unpredictable, strangely handsome and captivating Kevin. Both performances are outstanding, with Oscar written everywhere. <i>We Need To Talk About Kevin </i>is an intense and powerful visual treat. By the end of the film, all <i>you’ll</i> be wanting to talk about is Kevin.<o:p></o:p></div>Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-23722238108930857222011-11-07T14:25:00.000-08:002011-11-07T14:25:13.454-08:00The English Patient (1996) dir. Anthony Minghella<div class="MsoNormal"><i>“Every night I cut out my heart. But in the morning it was full again.”<o:p></o:p></i></div><div class="MsoNormal"><i><br />
</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFz5UbjQO5QqGn3cC96sm2rTsj7F1rWA6XmKXbrdCi8n6q3TGAHR_51fx4exKwTQE9aPwoRh_ZHVcYw2AHuZXZ3qe57VvyfJrabXub6pN_uUP-CnY9xugZxqy-s7XVvjqi5LvuRIrvU6e/s1600/englishpatient1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFz5UbjQO5QqGn3cC96sm2rTsj7F1rWA6XmKXbrdCi8n6q3TGAHR_51fx4exKwTQE9aPwoRh_ZHVcYw2AHuZXZ3qe57VvyfJrabXub6pN_uUP-CnY9xugZxqy-s7XVvjqi5LvuRIrvU6e/s400/englishpatient1.jpg" width="400" /></a></div><div class="MsoNormal"><i><br />
</i></div><div class="MsoNormal">The end of WWII is close; Count Laszlo de Almasy (Ralph Fiennes) is horribly burned in a plane crash and cannot remember anything. Nursed by Hana (Juliette Binoche), he slowly regains his memory, and we are told the story of his fateful love affair with married Katharine (Kristin Scott Thomas) through flashbacks.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Based on the novel by Michael Ondaatje, <i>The English Patient</i> won a total of nine Academy Awards, including Best Picture. Aside from the outstanding performances by the entire cast, the music by <a href="http://www.amazon.com/Gabriel-Yared/e/B000APCCBK/ref=ntt_mus_dp_pel"><span style="background: white; color: windowtext; text-decoration: none; text-underline: none;">Gabriel Yared</span></a> is breathtaking. The beautiful orchestra combined with exotic traditional sounds encapsulates the underlying theme of geographical and cultural differences/borders. As lightly as the sand blown by the wind which slowly reveals the beautiful desert landscape, immediately you are swept into this picturesque world of the film. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Can love exist in this chaotic world of war and betrayal, where the roads are filled with mines and people are always overshadowed by death? The film is a collage of ideas, rich and grand in scale with complex stories blended in together beautifully. Watching it on DVD is one thing, but seeing it on the big screen is a whole new experience which you definitely do not want to miss out on. For decades to come it will remain engraved in your memory. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>The English Patient </i>is an exploration of love, fate, hope, memory and passion. The brilliant cinematography has composed poetry for the screen, and everything from the dialogue to the colours is extremely tasteful – it’s nothing but pure aesthetic pleasure.</div>Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-1270876345894855872011-11-07T14:23:00.000-08:002011-11-07T14:23:39.231-08:00Melancholia (2011) dir. Lars Von Trier<div class="MsoNormal"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukBrP7bAQnDmB5JjTlDzChItywlOlz4dCvskmB0lBbbg1QUgdXGpBUY0hbf0U3QP4lxpo9rperJMQ3HhhQQ9JjJqtGCXL3KZRPWKHylwDr4l8Z6llNKlyLfQie9kichvt5le-YpivdoOa/s1600/Melancholia_409_photo_by_Christian_Geisnaes_large.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukBrP7bAQnDmB5JjTlDzChItywlOlz4dCvskmB0lBbbg1QUgdXGpBUY0hbf0U3QP4lxpo9rperJMQ3HhhQQ9JjJqtGCXL3KZRPWKHylwDr4l8Z6llNKlyLfQie9kichvt5le-YpivdoOa/s400/Melancholia_409_photo_by_Christian_Geisnaes_large.jpg" width="400" /></a></div><div class="MsoNormal">With every Lars Von Trier film release comes a great deal of talk and controversy. <i>Melancholia</i> is not as disturbing as his previous film <i>Antichrist</i>, but is certainly a feast.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Justine (Kristin Dunst) is about to get married to Michael (Alexander Skarsgard). They’re on the way to the wedding but the driver struggles with the car, causing them to be dramatically late. They don’t seem too bothered about how late they are though, in fact they’re in hysterics – all seems to be good. Until she spots an unusual star in the sky. From there on the first part of the film displays the breakdown of the wedding, the dysfunction of her family and Justine’s deepening depression.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In the second part of the film, the planet Melancholia physically approaches earth. Justine is calm while her sister Claire (<span style="background: #FBFBFB;">Charlotte Gainsbourg</span>) is in a panic. Scientists say Melancholia won’t hit earth, but we know it will. So does Justine. We witness a visual splendour as the approaching planet affects the characters’ state of minds, and ultimately collides into earth. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Having based aspects of the film on his own battles with depression, Von Trier has carefully observed and presents to us in extremely realistic detail the interactions between people. Themes range from humanity, death, to the emptiness of everyday life and the future of mankind, but everyone is bound to take different ideas and thoughts back home with them as the scale of this film is so vast. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The mesmerising visuals and immense climax will leave you speechless and glued to your seats. This is cinema at its best, and something like this <i>needs</i> to be experienced on the big screen. The dreamlike introductory sequence alone, made up of images of the characters and of space, is enthralling and stunning. Kirsten Dunst gives the performance of her career, with agony oozing from her every expression. Bold and intense, <i>Melancholia</i> will leave you in a state of indescribable euphoria.</div><br />
<div class="MsoNormal"><o:p></o:p></div>Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-30025950105713508802011-08-30T15:25:00.000-07:002016-02-21T04:45:11.594-08:00Summer at the Cinema 2011<div class="MsoNormal">
<b style="font-family: 'trebuchet ms', sans-serif; font-size: x-large;">The Tree of Life (<st1:date day="8" month="7" year="2011">July 8<sup>th</sup> 2011</st1:date>, dir. Terrence Malick)</b></div>
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<span class="Apple-style-span" style="background-color: white; font-family: "trebuchet ms" , sans-serif;">People say you either love this film or you hate it, but I disagree. I find myself in between. I suppose those who dislike it are those who thought ‘new Brad Pitt movie? Why not!’ and sat in their chairs utterly dazed and confused by what was to follow. Of course that’s not me. I’d watched the trailer twice and had read some reviews before going in, so I knew I’d be doing a lot of head scratching (I’m not very bright) and that it was going to be more of a collage of images than a ‘story’.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">It was, visually spellbinding. Images of the creation of life in outer space, in nature, through even dinosaurs, with all the sounds as well. Jack, in the modern world, played by Sean Penn, is confused and seems to have lost faith in the meaning of life. I didn’t understand whether it was because of the anniversary of his brother’s death or because he was simply remembering his brother, but starting with the way in which his parents Mr and Mrs O’Brien (Brad Pitt and Jessica Chastain) find out about the death, we are introduced to their family through Jack’s childhood eyes, from his birth. We see everything as he would see it, proportioned to his size. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">We experience Jack’s first steps, the birth of his brother and the emotions this created within him, the vastness of nature as he plays with his brothers – we can almost feel the breeze on our faces. Things we take (or took) for granted, presented to us so beautifully. But there is no falsity or over-dramatisation in its presentation – life is, indeed, beautiful, we just need a little perspective and gratitude. Jack’s parents, two people with entirely different attitudes towards life, are presented to us through his innocent, scared, curious and mystified eyes. I think there was a scene where his mother is on a swing, simply swinging back and forth. The way in which Jack sees her do so is so elegant and graceful, representing her spiritual attitude towards life. Jack’s father, on the other hand, is more materialistic. He is shown as strict, and not really able to show love for his children as well as the mother does, restrained by the boundaries he himself has created. Jack even wishes he was dead at one point, which is shocking, but as children didn’t we all think of such shocking things, so innocently and simple-mindedly? I think I’m going on and on without aim, but basically we follow Jack and how he loves, hates, is scared, how he builds his character, understands life and death, and grows up. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Put together in a film with the extraordinary sequences of the creation of the universe, present-Jack’s walking around, lost and remembering, and the utterly confusing sequences of (I think) heaven, whether it’s actual heaven or heaven in Jack’s mind I don’t think I’ll ever figure out, this is a vision of life and death, pure art cinema. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">I’ve praised it so much, then why I am ‘in between’ those who loved it and hated it? Because I think I need more time. I’m only 22. I went to the bathroom after the film ended, and needed to just sit for another minute to either organise my thoughts or stop thinking about it completely for the time being, and the other women in the bathroom talked about how wonderful the film was as they washed their hands. If I see it again in another 10 years, or even 20 years, I feel I will be able to appreciate it more straightforwardly too (not ‘understand’ because there is nothing to ‘understand’). If you get what I mean. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><b>Rating for the time being: 7/10 </b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Next:<br />
<b><span class="Apple-style-span" style="font-size: large;"> Harry<span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;"> Potter and the Deathly Hallows: Part 2 </span>(<st1:date day="1" month="7" year="2011">July 1<sup>st</sup> 2011</st1:date>, dir. David Yates) </span></b></span></div>
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<span style="font-family: 'trebuchet ms', sans-serif;">Harry, Ron and Hermione were my best friends at secondary school when I didn’t have any real friends – I read the books over and over again and had remembered everything back to front, and back again! As such an avid fan of the books, the screen adaptations never disappointed me at all. Now when I read the books, do I picture Harry as Daniel Radcliffe? And Ron as Rupert Grint? No, I don’t. I picture them just as I did when I started reading them, before the films came out. I don’t know how that managed to happen. Perhaps the division between the books and the films in my head is too strong. I love them both to bits, but they never really clash.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The 3<sup>rd</sup> film, The Prizoner of Azkaban, was my favourite, because it was ‘dark’ on a different level to the previous 2. The time-turner sequence was delightful to watch visually on the screen. And since then, I wouldn’t say it got better and better, because the 3<sup>rd</sup> is still my favourite, but it certainly got darker and darker, and with Voldemort rising to power again in ‘The Goblet of Fire’ and Hogwarts becoming more of a dangerous place, the films, as they came out each time, felt more and more important. Of course we all lived a life in between each film release. But when the release date got near I recapped the books, and made sure I was back into ‘Harry Potter mode’ again. It was a connection I made each time to my childhood. Like a home town I went back to. I myself don’t actually have a ‘home town’ due to a life of moving towns (if not countries) every few years, so things like Harry Potter I really clinged onto.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">So, enough reminiscing of my bloody childhood, let’s get to the actual film! Well, it’s not just a film is it? It’s the end of the era! (Here I go again) So from the instant the film begun, I was crying. Actually crying. 2 reasons. 1 – ‘Oh my God Harry Potter is ending…it’s the end!! The end!!!’ 2 – the Soundtrack! Alexandre Desplat did the previous film (Deathly Hallows Part 1)’s soundtrack as well, and he is absolutely magnificent. The music is so poignant, so haunting, mature-sounding, subtle at times, emotional, and dramatic when it needs to be. Perfectly portrays what is going on on-screen, and is in itself a reminder that these ‘kids’ are now grown up. They’re not just getting past 3-headed dogs and anymore, this stuff is real!</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The action sequences are of edge-of-your-seat quality. Some people criticise the previous film (Deathly Hallows Part 1) for being too slow and because “nothing happens.” But it’s absolutely necessary, to have that extremely long and frustrating journey, which leads to Harry and Ron arguing and going their separate ways at one point. Though there is extreme evil out there and people being murdered, the 3 of them cannot do anything without solving the puzzle of the horcruxes that Dumbledore left behind. It is the key film out of all 8 which portrays their growing maturity and the faith they have in one another. Part 1 also acts as the ‘silence before the storm’. So Part 2 responds to the anticipation of the world perfectly - “with a bang”, as so many people have no doubt already described. Even if you’re not particularly fond of action, like me, it’s not all action - the balance of dramatic and sentimental is perfect. And to be honest you cannot help but enjoy the action, I’m afraid, because this is the end, this is the ultimate fight, where everybody comes together. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This isn’t just a film with a happy ending, this has been a journey of 7 books and 8 films, of love, friendship, growing up, fighting, and learning what is important. The end is happy, but we shed tears for those we have lost on the way, for all the pains the characters have gone through. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Sorry about all the childhood-talk. I knew I should never have written a review for this film…but I have, I’m sorry.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Beginners (22<sup>nd</sup> July, dir. Mike Mills) </b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This, I think, is a very difficult film. Not to understand, but to have created. There is a lot going on, a lot of feelings, subtle but complex and very crucial in shaping the characters’ motives and actions. If I remember correctly there are 3 time-settings. First, the present, after Hal (Christopher Plummer), the father of Oliver (Ewan McGregor) has passed away. Oliver meets the eccentric Anna (Melanie Laurent), a French actress, at a costume party, and begins a relationship. Then there is the past. Hal is alive, Oliver’s mother has passed away, and Hal confesses to him that he is gay. He is living very happily and openly, in a relationship with Andy, a younger man. At the peak of his happiness he is diagnosed with cancer. Finally there are the flashback scenes of when Oliver was a child, interacting with his mother, a very peculiar woman, and observing the distance between his parents.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Oliver may be the ‘protagonist’ in the sense that he is alive throughout the whole film, but there is as much focus on Hal, and even Anna, whose relationship with her father we are given an insight into. Oliver has developed a fear of relationships through what he has experienced and witnessed as a child between his parents, and we hope he manages to overcome this eventually. He’s a nice man, humorous, and sweet, but there is a sadness underlying in him all the time, evident in his drawings – ‘the history of sadness’. There are so many complexities, reflecting what people go through and feel in real life, but Mike Mills is able to keep a very steady, consistent andante pace. The piano music which plays throughout also has a very calming effect. The film is like a comfy couch. In order not to make it dark or too depressing, we have Oliver’s dog Arthur, who talks in subtitles. This is of course unrealistic, and had I not seen the film I would’ve had doubts, but, firstly it’s believable that the dog actually may be thinking those things, and secondly, it’s absolutely necessary in adding the lighter side of life - balance - to the film. I also remember that I liked the use of pastel colours in the film, and the sets were very homey. There is so much personality and humanity in the film, and the performances of all the actors are wonderful. All in all a nice little treat!</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Next, we’re into August:</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>The Devil’s Double (10<sup>th</sup> August, dir. Lee Tamahori)</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">I don’t think they marketed this film very well; I came across it just by chance through a website. I’d not seen any trailers or any posters, anywhere, and I’m usually conscious of new film releases. After checking out the trailer I immediately wanted to see it! Somehow I also immediately knew that it was going to be great.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Based on a true story, it’s about the lives of the Saddam Hussein family through the eyes of the body double of the sadistic son Uday Hussein, Latif Yahia. Both roles are played by Dominic Cooper. That story – right there – is already extremely interesting and promises shock and excitement. I don’t know how much of the story is actually true, how much was changed or dramatised, and its historical accuracy. Maybe there are some people from these areas who have been offended, I don’t know. But from my point of view, a 22 year old female living in the <st1:country-region><st1:place>UK</st1:place></st1:country-region> who enjoys films, and enjoys obscure films even more so, I was thoroughly entertained. Some people have complained about it being in English. Ok, that’s understandable, because I’m half Japanese and when I went to see 'Memoirs of a Geisha' and everybody spoke in English I was disgusted and didn’t stop complaining about it forever. But at least these people can speak English and it doesn’t hurt to listen to them. Dominic Cooper using different accents for Uday and Latif is a big factor in separating the two characters and giving them individuality, and as it has been made for audiences like us, it is understandably easier for us to see this it in English. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Dominic Cooper is absolutely phenomenal. Uday and Latif have the same faces, basically. Physically there <i>are</i> differences, yes, in the arrangement of their teeth and their hair, for example, but what makes the two so distinguishable are not the physical differences, but their personalities, manners and way of speech. Uday behaves and speaks ridiculously, almost comically, but immediately underneath this is the sadistic, brutal and merciless Uday which suddenly jumps out, murdering people for excitement. He has no heart. I won’t go into any more detail in order not to give too much away, but it’s indescribably shocking, and you feel no pity for him. You hate him. But Latif, you can respect, or I did anyway, and you are completely on his side - you almost forget they are played by the same person! Not too long ago I watched ‘Moon’ where they must have used a similar camera technique in using the same actor to play 2 characters. I watched the DVD extras, and it looked like a hell of a lot of work, confusion and frustration! In the case of ‘Moon’ it more or less all took place on a few interior sets. But in ‘The Devil’s Double’ there are all sorts of settings and situations. Hats off to the filmmakers! </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">One sequence I remember being particularly impressed with is the scene in which Latif and Sarrab secretly make love, and there is heavy bombing going on outside. The contrast between the outside and inside work perfectly together as their love-making is equally risky and dangerous, in a way. If Uday finds out, we know what he is capable of doing. The bombing also acts as a sort of background music, dark and gritty, intensifying the passion, but reminding us of the lack of a happy outcome. The entire film is built around intense action and intense emotion. Some people have criticised that at times things are too dramatic and over-the-top, and once again I cannot comment about historical accuracies as I have no idea, but Uday Hussein was an absolutely frightening mad-man who easily did such horrifying things, so I would have thought it was necessary to become a bit over-the-top at times. Anyway, if you are able to just sit back and enjoy it as entertainment, like me, then this film is one hell of a rollercoaster ride! </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The film ends with a very stylish and satisfying-to-watch assassination attempt of Uday, followed by text which informs us that he lived as a cripple for the rest of his days until he was assassinated by the <st1:country-region><st1:place>US</st1:place></st1:country-region> army, and that Latif is still alive now. The ultimate triumph of good, and the fact that it’s a true story! Brilliant!</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">I actually remember a couple more sequences I want to talk about, but shouldn’t ramble on too much. I think I will choose this film to write a more in-depth analysis on when it comes out on DVD, and I will definitely be getting the DVD!</span></div>
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<b> Rating: 10/10</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Rise of the Planet of the Apes (11<sup>th</sup> August, dir. Rupert Wyatt)</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This movie was a disappointment, to be honest. Ok, I’ve never seen any of the Planet of the Apes films so I won’t be too critical (once again, because this was a ‘prequel’ movie I figured I didn’t need to have seen it all to understand it, and went to see it because of the buzz), but this film, on its own as a single film, I didn’t get anything out of. The motion capture was impressive, of course. I don’t know how much of ‘Caesar’ (the ape) is Andy Serkis, but whatever the case it is amazing that technology can ‘create’ such a realistically looking ape on screen.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">My biggest problem was the storyline. It was…nothing knew. The idea that humans selfishly ‘create’ something which ends up destroying themselves is not new. The back-story that Will’s father was suffering from Alzheimer’s seemed a bit corny too. There was no character in Freida Pinto’s Caroline, and James Franco’s performance seemed a bit wooden. Let alone chemistry between them. I could have told you the entire story after watching the first 5 minutes, it was so predictable (which is why I’m not inserting any spoiler warnings here. If I have spoiled anything for you I apologise). But maybe it was supposed to be predictable. After all it’s a ‘prequel’ so we are kind of supposed to know what happens right? We just watch ‘how’ it happens. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">But I didn’t find the action sequences particularly jaw-dropping. And once I’d got used to watching the motion-captured marvel that is Caesar, the ‘rise’ of the hundreds of apes wasn’t particularly amazing any more. In fact there were so many apes, the people in the cinema who mindlessly ate their popcorn and watched the movie started to look like apes too, and I was in a room full of apes basically. They’d probably be equally entertained if someone went and made ‘Rise of the Planet of the Cats’ or ‘Rise of the Planet of the Pelicans’, as long as they used visual effects and had lots of action in it. When I got out of the cinema and started to walk home there was a man walking his dog, and I actually jumped a little because I thought momentarily that it was an ape on all fours. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Tom Felton was a bit disappointing too. As a massive Harry Potter fan it hurts to be critical of the young actors who were in the series, but can he only play Draco Malfoy? I was expecting him to call Caesar a “filthy little mud-blood” any minute. But I suppose it wasn’t his fault, it was the fault of the script, which didn’t really give him a chance. I hope he eventually gets to play a character with more depth. The script, also, now that I’ve mentioned it, was nothing new. Music, nada. Same old story with a different setting and situation, which wasn’t particularly unique or exciting. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The only thing I was impressed with, as I already mentioned, was Caesar, and I suppose the bond between Caesar and Will. That was believable, despite Will’s woodenness. <b>*SPOILER*</b> That last scene in the forest where Caesar and Will part, that was touching, for instance. It was corny, but James Franco’s expression after Caesar told him he was already home, was good acting I thought. And I’m a softie, so I did get a tiny bit teary-eyed. <b>*END OF SPOILER*</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Wherever I look I mostly see reviews saying how great the film was. Maybe I’m being too critical…but if I felt at the end of the film that I’d gained absolutely nothing, and found myself yawning at times, then I can’t help it. Sorry, fans of the film!</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>The Skin I Live In (26<sup>th</sup> August, dir. Pedro Almodovar)</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This was a great film!</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The trailer didn’t really say anything about the story, but leaves vivid images in your mind which tell you that this film is going to have lots more to offer! </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Every scene is a visual masterpiece in its own right. There is nothing that doesn’t add flavour to the story or the visuals - every frame is extremely rich. As well as incredible storytelling, this is visual poetry. It’s not too dark, though. There are humorous moments, as with most Almodovar films. Ok I must admit I’ve only seen about 5 of his other films, and they were mostly after I saw ‘The Skin I Live In’ (because I found it to be such a great film, found out he made ‘Volver’ as well which I’d seen before and enjoyed, so I looked up his other works and immediately borrowed the famous ones), but even from just 5 or 6 of his films you can see that they generally involve humour and light-heartedness. This is of course one of his darker films. He normally uses bright colours, but on this occasion less so, with the odd gash now and then which are very effective. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">As a screenwriter-wannabe, Almodovar is an incredible inspiration. This script is beautiful, it’s perfect! - All of his stories are, as far as I have seen. The actors put on splendid performances (Vera’s skin is magnificent by the way – I don’t know how much of it has been edited afterwards, but it makes you want to reach out and touch it), the pace makes the film constantly exciting, there are many unforgettable scenes, and important themes have been put to question. The music, by Alberto Iglesias, is also very beautiful and emotional. The film led me to be interested in Trentemoller as well, a Danish electro musician, whose track ‘Shades of Marble’ is used in one scene (it can be heard in the trailer). Cinema at its best!</span></div>
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Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-13048789044067695932011-07-19T07:49:00.000-07:002016-02-21T04:46:50.642-08:00Never Let Me Go (2010) dir. Mark Romanek<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><strong>By far the best film I’ve seen in 2011 so far. </strong>I saw it way back in February. Completely overlooked by the Oscars. The original novel, which I haven’t read, is by Kazuo Ishiguro. Screenplay is by Alex Garland, and the director is Mark Romanek. I believe you either love this movie or you hate it. While watching it at the cinema, crying towards the end because I was so moved, I looked over to my right, and my friend was…asleep. *SPOILERS! DON’T READ IF YOU PLAN ON WATCHING!*</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The film is about the fact that we are all going to ‘complete’ – die – in the end which is inevitable, and we have not got enough time. Why do we exist? Like the ‘clones’ in the film who are made to live to donate their organs numerous times and eventually die before even hitting mid-age, perhaps we are similarly instrumented by God (or any ‘bigger’ existence) to love, experience, give, take, live…all just to have it taken away from us in the end by death (often very abrupt death). Kathy puts it perfectly in the final lines of the film, “What I’m not sure about is whether our lives have been so different from the lives of the people we save. We all complete. And none of us really understand what we’ve lived through. Or feel we’ve had enough time.”</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">So Tommy’s scream towards the end is the desperate agony of the soul, a plea for sense and truth. Andrew Garfield explains the scream in an interview for Film Independent, “a last stitch attempt to…it’s going, it’s going, I’m here, I’m here, I’m here…is there anyone else there? If there is, now is the time to show yourself.” “You poor creatures” says Madame, after informing them that there is no such thing as a deferral. “We didn’t have the Gallery in order to look into your souls. We had the Gallery in order to see if you had souls at all.” Clones they may be, but Kathy and Tommy are full of soul and individuality. Kathy in particular loathes the way Ruth attempts to ‘copy’ Rodney and Chrissie, who ‘copy’ what they see and hear on television. In the DVD extras, Kazuo Ishiguro, the author of the novel, explains that he used this sci-fi element of clones in order to see more clearly what it means to be human.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Why don’t these characters ever try to escape? Have they been so institutionalised that they have nothing but what they have grown up with? Surely not. Ishiguro stated in an interview, also for Film Independent, that he tried to write about how we do not run away and accept our fates, as opposed to the heroic stories of protagonists who escape (or desperately attempt to) from their destinies. There is nowhere to run away to, I suppose. Had they somehow managed to run away from the operation process, the inescapable fate of death, of ‘completion’, is still there, merely coming a little bit later.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">No doubt Ishiguro’s novel is beautiful and an absolute pleasure to read. I have not read it so I cannot comment. But the film has strived to be visually aesthetically pleasing as well, and succeeds with distinction. The entire film (with only a few exceptions) has been filmed in the scenic countryside, and the colouring in general is very pastel and natural. The characters wear simple clothes and the cottages are nothing fancy; they are beautiful because they are only built up on necessities. There are no shiny new toys at the Hailsham school sale, but old hand-me-downs. They have their groceries delivered to the cottages as opposed to going out and buying them, coming back with shopping bags full of items. Such materialistic ideas are blown away by the wind, caught in the barbed wires in the final shot of the film.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">There is definitely something compelling and strange about this film throughout, both before and after we learn about the childrens’ fates. I cannot quite point my finger at it; even simple shots of objects feel as though there are deeper, hidden meanings beneath the surfaces. And when I came out of the cinema after seeing it for the first time I felt I needed to sit down and think about it because I felt there must be some deeper meaning I hadn’t quite grasped yet. But there isn’t. The story is about love and friendship in the little time we have; there is nothing difficult to understand. The film is great because of its unique story, the already-discussed visual splendour, and the sadness we cannot simply forget about or escape from; the story is fictional and very extreme, but its theme is truth in its entirety.</span></div>
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<br />Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0tag:blogger.com,1999:blog-1874763448513955622.post-19254787664281686412011-07-01T07:41:00.000-07:002016-02-21T04:47:59.097-08:00Road to Perdition (2002) dir. Sam Mendes<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Recently I re-watched ‘Road to Perdition’ (2002) by Sam Mendes – one of my favourite films ever.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">It’s about Mike Sullivan, a hit man, and his son on the run from the consequences of Sullivan’s violent job.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">On the filmmaking team, together with Sam Mendes who won an Oscar for his previous film – his first film – ‘American Beauty’, are Oscar winning Editor Jill Bilcock, also Oscar winning Production Designer Dennis Gassner, Oscar winning Costumer Designer Albert Wolsky (Gassner and Wolsky both won Oscars for their work on ‘Bugsy Malone’ in 1991), Oscar winning legendary Director of Photography Conrad L Hall, who made the great Western ‘Butch Cassidy and the Sundance Kid’ (1969). He won an Oscar for his cinematography on ‘American Beauty’ and won it for this film as well. It was a posthumous award as he sadly passed away in 2003, so his son collected the award for him.</span><br />
<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Is there anyone on this team who HASN’T won an Oscar?? No wonder this film is such a piece of perfection…</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The cinematography is absolutely gorgeous, with so much attention to detail on everything. Apparently about 100 types of artificial snow had been used (ok, probably more like 10, but that’s still loads!) Everything in the frame at whatever point in the film you pause it on, has been created and placed at that very place for effect. And gradually, as Mike Sullivan bonds with his son and becomes more ‘humane’, the season shifts from winter to spring, there is a colour shift, more light is brought into the film.</span><br />
<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This film would’ve looked absolutely fantastic in black and white – though there was colour of course in 1931 Chicago, it was very minimal. Conrad Hall and the others on the team did their very best to make the film monochromatic – to “pull back as much colour as possible.”</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Chicago, they have actually used as a film location. No doubt after days of location hunting, they found places where the touch of the 30s Depression remained, i.e. industrial sites no longer in use. We can really sense the rising industrial power, contrasting with the vastness of the American countryside, “where there was still space to completely lose yourself” in Mendes’ own words.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Let’s look at 2 out of the many exhilarating scenes in the film, firstly, when Mike Sullivan and Mike Sullivan Jr enter Chicago:</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">From a front-view shot of the 2 characters in the car, the camera dollies around along the side to show us the expression on Mike Sullivan Jr’s face as he looks up and is stunned, there are glimpses of the reflection of the skyscrapers on the car window which give us a taste of what he is looking at – the camera then reaches the behind of the car and lets it go, giving us full view of the vast city. The music ensures that it doesn’t over-do it.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Ok, that was short. Now a slightly longer clip. It’s a bit of a spoiler, so if you haven’t seen the film before but are interested in seeing it, perhaps best not to watch!</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The fog, the lamp-posts, the rain, the umbrellas, the silhouettes, everything is so….sorry I can’t think of a more intelligent word – ‘cool’. There is no sound but the beautiful music by Thomas Newman (we’ll come back to him later, the awesomeness of the soundtrack deserves an entire separate paragraph), and the haunting sound, whatever instrument it is, confirms the end for Paul Newman’s character John Rooney. A gradual close-up onto his face, his expression says it all – his arm on the car, his back turned to Sullivan, the gun-shot firing in the centre of the frame, the men who fall one by one (the shots are unheard but the lights and smoke do its job), and the whole time, Paul Newman and his hopelessness takes centre frame.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">I won’t say any more because all I’m doing is just describing what anyone can see for themselves, but the point I want to eventually lead up to is that, though it is a violent scene, it is at the same time so non-violent. The music and centre-framing of Paul Newman’s character ensures that the focus is not the falling men, but the still-standing Newman and his doom – it was going to happen all along. We truly sense the agony of Mike Sullivan in pulling the final triggers. Even in the first half of this scene when his physical body is not present, there is no glory as his gunshots bring all the men down one by one. There is despair, there is sadness, and it’s all very poignant.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">So the violence is emphasised through the silence. Silence plays a key part in this film, for example, Tom Hanks’ acting conveys to us what he most feels and wants to say through what he does not say. We need to observe his expressions more than listen to his words, in order to understand him. Speaking of acting, all the actors are flawless in this film. Paul Newman does a great job – his Irish accent is perfect enough to fool me! Daniel Craig does an awesome job of playing Connor Rooney, John Rooney’s jealous (?) son, chuckling at Michael and his father playing the piano together – “it’s all so fucking hysterical!” The child who plays Michael Sullivan Jr, Tyler Hoechlin, has great presence and wisdom. My favourite though, is Jude Law’s sinister odd-ball Harlen Maguire. Everything about him is creepy – his job as a crime-scene photographer, his teeth, his fading hair, and, though this may sound strange, all of this makes him so…sexy. Hmm.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">So, Thomas Newman. He’s never actually won an Oscar yet, correct? Ok, I may have salt-and-peppered my first paragraph with ‘Oscar’, but they really never get it right do they? He composed the soundtracks for ‘American Beauty’, ‘Shawshank Redemption’, and, well, I recently went to see ‘Adjustment Bureau’ at the cinema, came out saying wow I really liked the soundtrack, to which my boyfriend gave me a ‘wtf…you’re gonna comment on the soundtrack??’ look (he’s a really simple-minded person), came home, looked it up and found it was Thomas Newman. Aha! Explains it.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The Irish themed track, ‘Rock Island, 1931’ introduces us to the film in the opening credits and reoccurs several more times throughout the film. It’s a beautiful track:</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Skip to 1:19 if you just want to just get to the music.</span><br />
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Great visuals, great sound, great cast, great story (it’s based on a comic-book, I just found that out today). The journey of father and son to ‘Perdition’, a “mythic place” of hope which “leads them on” and their bonding throughout the journey.</span><br />
<br />Ellyhttp://www.blogger.com/profile/07020759907102248812noreply@blogger.com0