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The Irishman (2019)
Engrossing epic crime drama in both runtime and scale
Scorsese returns to the gangster genre with the epic The Irishman.
Told through flashback and present day we follow Frank 'The Irishman' Sheeran (DeNiro) form a close relationship with mobster Russell Bufalino (Pesci). After becoming Bufalino's trusted right hand man Sheeran is given the task of helping union boss Jimmy Hoffa (Pacino) where a long lasting friendship is forged.
Scorsese has made a film that's epic in both runtime and scale. Set over decades from the 50s to 80s The Irishman is predominantly about ageing, loyalty, loss, regret and conflicted friendships within the criminal underbelly of the mafia.
At 3 1/2hrs The Irishman is long but never feels that way thanks to the captivating performances of DeNiro, Pacino & Pesci (who steals every scene he's in and makes you wonder why he retired so early). Pesci must be favourite for an Oscar for sure! The supporting cast is also excellent, especially Ray Romano, Bobby Cannavale and Brit Stephen Graham but Anna Paquin is severely underused with barely a line of dialogue to deliver.
The CGI is also to be commended. Flawlessly taking years off the three main protagonists.
So, The Irishman is a compelling drama, a little hard to follow at times with so many names to remember and criminal shenanigans going on, but which Scorsese strikes gold again in a genre he is so familiar with. A film I will definitely revisit and one of the best films of the year.
Network (1976)
A superb satirical exposé on the Manipulative world of TV
Sidney Lumet's glorious satire about the lengths TV networks will go to obtain those elusive viewing figures is a timeless drama that is as relevant now than it was when it was made considering the political turmoil we are currently experiencing.
Peter Finch plays newscaster Howard Beale who is on the verge of a nervous breakdown after being told he will be sacked after 11yrs of working for the Network. While live on one of his final shows he dramatically tells his audience he will commit suicide on his last show. The executive board are furious and pull him screaming from his chair but viewing figures jump. Executive Diana Christensen (Faye Runaway) pursuades the board to reinstate him and viewing figures soar as his improvised angry rants resonate with the audience.
Scrutinising the lengths the scrupulous & manipulative TV company's will go for higher viewing figures Paddy Chayefsky's incredible script sizzles off his pages and on to the screen as a tour de force cast deliver his lines.
Peter Finch is superb as the crazed iconoclastic & morbid Beale, who tragically died shortly after filming but went on to win a post-humous best actor Oscar. But this isn't just a one man show, everyone involved is quite simply breath taking. Lumet always seems to get the best out of his actors and it's no different here. Brilliant performances from William Holden, Faye Dunaway, Robert Duvall and extraordinary cameos from Beatrice Straight & Ned Beatty (with two of the best scenes in the movie) make Network an outstanding piece of satirical work showing the manipulative power TV holds over the viewing public. It has to be right if the people on the TV are telling us this, right?
Network is up there with 12 Angry Men, Dog Day Afternoon & Serpico as one of Sidney Lumet's best. I'm mad as hell and I'm not gonna take this anymore!
J'ai perdu mon corps (2019)
Mesmerising animation let down by ending
I Lost My Body is a captivating watch thanks mainly to the incredibly textured animation, but unfortunately I felt a little let down by the narrative which just seemed to go nowhere with no obvious resolution.
Told through present day and two different periods of flash back we follow the hand of Naoufel which is desperate to reconnect with its owner after an accident.
Prior to his accident we are drip fed information that Naoufel has had a tumultuous upbringing losing his parents in a car accident, growing up with an unloving foster parent whilst working unsuccessfully as a pizza delivery man instead of his early ambition to be a pianist or astronaut. It resonates for sure (I wanted to be a pilot or illustrator growing up, neither fulfilled like Naoufel). But after a failed pizza delivery his focus is given clarity in the form of Gabrielle. All the narrative jumps back and forth to weave the narrative together but its in the final act when the timelines converge that unfortunately Director Jérémy Clapin gave me no satisfying closure. I don't mind ambiguity in a film but this just seemed to peeter out without resolution.
Undeniably the animation is mesmerising. Every frame is wonderfully drawn with texture on every surface, unlike many animated films which solely rely on one layer of shading to give form to a 2D image. The movement of the hand is also superb giving it a personality of its own as it goes on an urban assault course, avoiding both human and animal peril in order to find it's host.
The music by Dan Levy is also brilliant and almost hypnotic adding atmosphere to the proceedings.
Although not a perfect film I Lost My Body is a beautifully crafted animated film that might be more rewarding on repeat viewings but initially is somewhat of a disappointment due to it's ending.
Marriage Story (2019)
Emotive and Compelling 21st century version of Kramer Vs Kramer
Noah Baumbach's latest drama focuses on themes that will resonate with many as he delves into the emotional story of love and divorce, comparable with the Oscar winning Kramer Vs Kramer.
After an effective opening voiceover scene where both Charlie (Driver) & Nicole (Johansson) tell us why they love each other we are then jarringly dropped into a therapist's room where both protagonists are in the midst of their early divorce proceedings. As the divorce intensifies for the custody of their young son so did its impact on me. It takes a while for the fireworks to get going but once Laura Dern weaves her manipulative lawyer's web, removing the amicable intentions from both parties we then get a phenomenal performance from Adam Driver in quite possibly a career best performance as he tries to deal with the underhanded tactics from the lawyer. Johansson is also in fine form but this is undeniably Driver's film. A scene where they try and talk their predicament out amicably but spirals out of control into a slanging match of insults until the emotive conclusion was my favourite scene. Hard to watch but utterly compelling thanks to both lead actors.
My only negative was Azhy Robertson who played the son in the midst of the tug of war custody battle. He was excruciatingly annoying and unconvincing.
Marriage Story is crafted perfectly at the hands of Baumbach who knows how to give us family drama with his eyes shut (see The Squid & The Whale). One of the best dramas I've seen this year that made me shed a tear at the very end.
Mirrors (2008)
Promising start descends into an unscary clichéd finale
Alejandre Aja's Mirrors starts off with an interesting premise but falls into a clichéd final act. Although I did enjoy its somewhat predictable curve ball ending.
Ben Carson (Keifer Sutherland) is an ex-cop suffering from post traumatic stress after killing someone whilst on the job. Out of work and split from his wife he's forced to take a job as a security guard in a burnt out department store which houses several ornate mirrors which hold an evil secret, a demonic spirit that imprints itself onto the next person to gaze into the mirror.
Aja is renowned for directing horror well and for the first half delivers a few effective jump scares and a couple suitably gory moments (the bathroom scene being a standout) but as the story progresses the originality dips to what you'd expect from a Hollywood remake.
Performances are generally below par with Keifer Sutherland constantly shouting out unconvincingly and his screen wife, actress Paula Patton, wooden to the core in her delivery of lines.
That being said Mirrors is still fairly enjoyable but feels like an opportunity missed with a premise that certainly could have delivered many more chills. Switchblade Romance (aka Haute Tension) still remains Aja's best.
Stalker (1979)
Slow & hard to comprehend on 1st viewing
After my second Andrei Tarkovsky experience (my first being Ivan's Childhood) I'm coming to learn that his style is of the slow and contemplative nature.
I went in to my first experience of Stalker expecting a film of science fiction but came away deflated and somewhat confused. I say experience instead of viewing because Tarkovsky films are deeper than just 'watching' a film. Narratively Stalker drags it's heels in the damp swampy environment of a dystopian Russia.
Stalker is atmospherically shot partly in sepia, to distinguish the real world from that of inside the zone, it's beautifully grim and reminiscent of the silent movie era. Giving it an eerie & haunting quality and feeling much like that from the fallout of a nuclear apocalypse as our protagonists wander around the gulag like industrial train yards looking for a way in to the zone. Once inside the zone we are transported into the contrast of full colour as Stalker guides Writer & Professor on a journey through the labyrinthian delapidated buildings and wet inhospitable countryside in their quest to reach 'the room' where their inner most desires will be fulfilled.
Tarkovskys film is philosophically profound and resists interpretation which makes it a challenging watch.
I also thought considering how much Stalker warns of the dangers of the zone there is unfortunately no sense of dread as we see absolutely nothing that puts them in peril on their journey (other than their own imaginations), although quite eerily the exclusion zone reminded me of Chernobyl even though that disaster came years after the film was made.
Stalker also reminded me of Alex Garland's 2018 film Annihilation which I'm sure was inspired by this bleak film.
With a surprising ending that explains both the opening scene and why Stalkers don't have normal children I did get enough closure that satisfied me but due to its extremely slow narrative, long runtime and not enough tension my first viewing was somewhat dampened.
Leviafan (2014)
Bleak, depressing and captivating
Andrey Zvyagintsev's Leviathan is one of the bleakest depressing films I've ever seen.
Kolya is a downtrodden man who attempts to fight back against a corrupt Major who wants his land to build a 'research center'. Kolya gets his lawyer friend from Moscow to come to his aid but this only brings more misfortune to Kolya who reaches his wits' end.
This is a bleak and unforgiving drama. Set against a small coastal town in an area of Russia that is wind swept, wild and inhospitable you get a feeling that you are on the edge of the world. Even the characters look aged by weathering as they try and offset their injustices by swilling Vodka like it's water. Hoping that the beast of corruption will just disappear in their drunken state.
And therein lies Leviathan's political statement during a Putin era where the ordinary downtrodden man has not an ounce of a chance against the relentless & corrupt leviathan-like alliance of the church and the state. You really get a sense of what it would be like to contest the unfairness of the Russian court system, as the corrupt judge reads out her judgements unflinchingly, robot-like without emotion, ignoring all the man's appeals of misjustice.
Performances are all excellent and incredibly grounded in their roles. Encouraged by the Director to use the minimum of facial expression to convey their own dispair. Aleksey Serebryakov as Kolya & Elena Lyadova as Kolya's wife are especially great.
With muted cinematography by Mikhail Krichman adding another layer of bleakness to the proceedings and the framing of expansive shots by Zvyagintsev Leviathan is an astounding piece of filmmaking. Maybe a little too long in running time but it's a powerful drama that will stay with you for a good while afterwards.
Captain Fantastic (2016)
Equally heartwarming & heartbreaking
Right from the Lord Of The Flies-esque opening scene I was instantly hooked by this emotionally compelling film about a family's loss and societal integration or lack of it. Matt Ross' Captain Fantastic tells the story of the Cash family who have lived out in the middle of forest and mountains, living off the land for 10 years. When Ben's wife is taken mentally ill he has to raise his six children by himself. After hearing his wife has committed suicide he gathers his children and sets off on the road to the funeral against the wishes of his dead wife's parents.
Captain Fantastic is a heartwarming yet heartbreaking film in equal measure. Ross decides to inject humour throughout to lessen the blow with the heavy subject matter and it really works. I laughed out loud on many occasions but my eyes welled up on a couple of moving occasions too. There are many standout scenes but my favourite had to be when Ben and his kids break out into spontaneous song with their musical instruments around the camp fire. It was such an uplifting scene of togetherness it brought happy tears to my eyes. But this isn't really a comedy. Ross brings us serious social commentary on mental health, consumerism, religion, societal integration and the inadequate schooling system which are all effectively brought to the fore to create a thought provoking experience.
Stëphane Fontaine's cinematography is absolutely breathtaking, especially when in the wilderness. It made me want to go out there and join them, for a week at least.
Performances are all outstanding, the kids especially, but Viggo Mortensen knocks his turn out of the park yet again. Every emotion conveyed in those sad deep set eyes. He's fast inserting himself into my top 10 favourite actors list.
With a stirring and at time haunting filmscore by Alex Somers, Captain Fantastic is quite possibly the best film I've seen this year.
Bad Day at Black Rock (1955)
Superb intriguing murder mystery
John Sturges' Bad Day At Black Rock is a classic example of a whodunnit mystery.
One armed John J. Macreedy (Spencer Tracey) turns up at the small western town of Black Rock searching for a Japanese farmer called Kamoko only to be greeted by a frosty reception from the town's inhabitants led by Mr. Smith (Robert Ryan) and his cronies. Macreedy realises that the townsfolk are hiding a secret and decides to investigate.
John Sturges' film is truly a classic character driven, dusty mountainous landscaped western. Set in an era where wild western values are on the cusp of extinction. We are literally dropped off the streamline train into a town that resembles a western town being left behind by modernity. Where the townsfolk are suspicious of strangers and are still hanging on to the wild west way of living.
Spencer Tracey is superb as Macreedy. He's utterly compelling and brings a sense of intrigue to the proceedings. In fact Bad Day At Black Rock is quite possibly one of the most intriguing films I've ever seen as the films narrative unravels. The ensemble cast is brilliant and filled out with Ernest Borgnine's course and aggressive Coley Trimble and Lee Marvin's cowboy Hector David. Both playing their characters with an inherent hatred of strangers.
Sturges directs brilliantly, often arranging the numerous actors in positions to add depth to the scenes. He also captures the isolation of the small town perfectly with the mountain range far in the distance, highlighting how much Macreedy is out of his depth as he has no means to escape as the townsfolk's grip tightens around him.
I found Bad Day At Black Rock an enthralling experience and is definitely a film I will revisit.
Hereditary (2018)
Slow burning, unnerving intelligent horror!
I've been highly anticipated in seeing Hereditary for months and finally watched it this evening. No spoilers here but needless to say that it certainly didn't disappoint. Hereditary is a slow burner of a horror film that concentrates on the drama surrounding a family dealing with grief and psychological issues due to their families past. As the film progresses the tension increases thanks in part to the incredible throbbing and foreboding film score. A sense of dread permeates throughout the film even when nothing truly unsettling is happening. As we approach the final act the horror really becomes terrifying and the spine tingles begin. A couple of scenes are notably scary as hell! The narrative is superbly structured so that it keeps you guessing until the very end. Performances are all great but Toni Collette is quite simply breathtaking. She really did absorb and embody the role of the grieving Annie.
Ari Aster has crafted a brilliant family drama with chilling horror elements that I'll be very happy to revisit time and time again.
Hold the Dark (2018)
An ambiguous murder mystery that won't be for everyone
Last night's movie viewing was Jeremy Saulnier's latest and highly anticipated film Hold The Dark. Off the back of Blue Ruin and Green Room, Saulnier has garnered himself a reputation as a director to follow. Hold The Dark tells the story about Russell Core (Jeffrey Wright), author of a book about his experience with wolves, who is requested by Medora Sloane, the mother of a boy who was taken by wolves to hunt the wolf that took her son. Straight off the bat things don't seem clear cut. There is a feeling that something sinister is lurking in the background with the help of the brooding film score by Brooke and Will Blair. We are then transported to Iraq and introduced to the father of the boy, soldier Vernon Sloane (Alexander Skarsgård) who is an icy cold killing machine but is injured and returns home upon hearing about his son. As the film progresses it is obvious what we are watching isn't going to be a no-brainer of a film. We have to work things out for ourselves. Clues are given to us and we need to string the clues together to make sense of what we are watching. There is abiguity throughout which won't suit people that need things spelling out to them. Things are said that don't make sense on first viewing so it's a film that deserves repeat viewings which in my opinion is great as I will discover something new on each viewing. I did have a slight niggle with the uneven pacing and the unsatisfying ubrupt ending but as a whole I enjoyed the movie immensely. The performances from Wright and Skarsgård are both excellent and a major highlight of the film as was the incredible cinematography from Jønck. He captured the isolation and beautiful Alaskan scenery perfectly. Saulnier's direction is taut and keeps the narrative moving. The shoot out scene is particularly well handled. Last night I scored Hold The Dark 7/10 but after giving the film much thought it now garners an 8/10 with a chance of improving after another viewing.
Janghwa, Hongryeon (2003)
2nd visit joy!
OK, now I had watched this film earlier on in the year for the first time and thought it was good but it went over my head. But after a second viewing, this film opens your eyes out wide and everything that seemed obscure and unexplained becomes all clear. I won't go into the plot/story so as not to spoil it for you but if you do manage to see this film, it will be more than likely obligatory to watch it again as everything on screen becomes to have more relevance after the first viewing. This is not a no brainer type film, you have to have your wits about you to fully understand whats going on. Go watch this film now, give it a week to bury itself into your brain then watch it again and its like watching a whole different film.
10/10