Metin_7 Reviews

Portrait of a Lady on Fire (2019)

A grandiose tribute to impossible love

[10/10 · 26 May 2020]

This is not a mere portrait, it is a profound work of art, a moving reflection of unbridled passion, a heartfelt tale of tenderness and sincerity.

Every scene is painterly lit with a finely balanced composition, and you can't resist the beautiful lead performers dissecting your heart, radiating the obvious presence of chemistry between them.

An impossible love is the most tragic and the most intense form of love, and Portrait of a Lady on Fire is a grandiose tribute to that.

Joker (I) (2019)

A fine piece of cinema, but not a masterpiece

[7/10 · 29 November 2019]

So... I've finally seen it, in a near-empty movie theater. 🤡

Let me first mention that the Joker is my favorite comic character, particularly since visionary comic creators like Alan Moore and Brian Bolland, and Grant Morrison and Dave McKean gave unprecedented depth and darkness to the character in the late 1980s. If you don't know The Killing Joke (1988) and/or Arkham Asylum: A Serious House on Serious Earth (1989), be sure to check them out. Together with Frank Miller's The Dark Knight Returns (1986), those game-changing comics paved the way to the first darker Batman films, created by Tim Burton.

The darkness-with-a-wink of the Burton films was superseded by Christopher Nolan's more serious Batman trilogy in the late 2000s. Although I think the third part of that trilogy was weak and superfluous, the second part featured the late Heath Ledger as the bright, shining star of the show, single-handedly carrying the film to sublimeness. Because, let's be honest, Christian Bale's grunting Batman is a bit annoying compared to Ledger's fascinating Joker performance, lifting the Joker character to a new iconic level.

Joaquin Phoenix had the very difficult task to match or even outshine Ledger's legendary Joker. Jared Leto's attempt failed miserably in The Suicide Squad (2016), at least that's what I've read everywhere, as the film doesn't attract me at all.

What I really liked about the new Joker is the moody portrayal of the tragedy and isolation of mental illness, which was at times really emotional, mainly thanks to the intense, laudable performance of Joaquin Phoenix.

I thought the metro shooting scene with the yuppies was powerful, inducing an emotional release after all the injustice, a feeling slightly reminiscent to the gratification of the classic revenge scene in Oliver Stone's Midnight Express (1978).

Then there was the build-up to Joker's TV show appearance, which would be the climax after all the endured suffering and mockery. And to some disappointment the TV show climax turned out to be underwhelming. I expected more of it, such as a really gripping twist and/or an emotionally resonant speech to complete the built-up tragedy.

The subsequent urban riot scenes and the ending also didn't really make an impact, although I liked the fact that Joker didn't purposely stir up the disgruntled people, but was turned into a figurehead by them. I also liked the homage to Ledger's poetic police car backseat scene.

Joker is obviously a grim tribute to Scorsese's Taxi Driver (1976) and The King of Comedy (1982), not coincidentally both also starring Robert de Niro. There's also a strong hint of Death Wish (1974) in the plot development.

All in all I think Joker is a fine piece of cinema, but not a masterpiece, as many others label it. Apart from the praiseworthy performance of Joaquin Phoenix, the plot is reasonably thin, with familiar elements: an introvert main character in a hostile, nihilistic society is pushed over the edge by caricatural bad people.

Of course Joker is based on comic characters, but the film obviously tried hard to put the emphasis on realism, resulting in a slight identity crisis. It's not as credibly realistic as Taxi Driver, and not as comic-like as The Dark Knight.

The bottom line: in my humble opinion, Heath Ledger is still the best Joker.

Christiane F. (1981)

A dismal masterpiece

[10/10 · 10 March 2019]

Christiane F. is a raw, uncompromising, bleak portrait of the drug addiction epidemic around the early 1980s, based on true autobiographic events.

There is no glorification of drug use in this film and no moralism either, just matter-of-factly realism: getting to know the wrong kind of friends, curiously trying drugs, enjoying it, slipping into addiction without realizing it, and slowly sinking into a bottomless pit of dirty needles, painful longing for a shot, cold prostitution and balancing on the edge of life and death.

The cold turkey scene was impressively dismal, like the perfect anti-advertisement for heroin use. The performances were very good, almost giving the impression that you're not watching a movie but a documentary.

The scenes featuring a David Bowie concert in Berlin felt like a feverish dream of the early 1980s. Bowie was radiant and charismatic.

Christiane F. is the dreariest coming-of-age film I've ever seen. That doesn't sound like a recommendation, but this film definitely deserves praise. Be sure to watch the uncensored version for a complete impression.

The Face of Another (1966)

David Lynch avant la lettre

[8/10 · 25 February 2019]

The Face of Another made quite an impression on me. I'd call it a very intriguing David Lynch production avant la lettre, filled with thought-provoking philosophies and allegories surrounding the mask that is given to the facially disfigured main character.

There's so much delicious surrealism in The Face of Another, depicted in beautiful black and white cinematography that's larded with original, imaginative touches, such as the freeze-frame shots, and a scene where two characters are talking in a bar while all the surrounding people are becoming completely unlit.

I also loved the sad fairy-tale like secondary story with the facially disfigured girl that was weaved through the main plot.

I strongly had the impression that The Face of Another was a reference to the then relatively recent (nuclear) war tragedies, where lots of lives were turned upside down because of mutilations.

Tatsuya Nakadai is perfectly cast as the main character, with his melancholic, hypnotic eyes, and the scenes with the faceless crowd gave me a tidal wave of goosebumps.

The Man Who Sleeps (1974)

A hidden gem

[8/10 · 9 February 2019]

Un Homme Qui Dort is a mesmerizing existentialist trip across different states of mind, with an unusual narrative: only a voice-over speaking out the realizations of the ever-silent, intriguing main character, a student in Paris, who wakes up one day to realize the meaningless of life, and starts discovering the liberation of indifference.

Un Homme Qui Dort is one of the most original, thought-provoking films I've seen in a long time. It effectively portrays an existential crisis, solitude, depression and anxiety, but also peace of mind, using hypnotic, poetic images of 1970s Paris, shot in atmospheric black and white, and accompanied by a haunting soundtrack.

A hidden gem.

November (2017)

A darkly romantic masterpiece

[10/10 · 19 September 2018]

If you like surrealism and dark fairy-tales, and you haven't seen November yet, watch it before reading my review, because I wouldn't want to influence your expectations.

When I started watching November all I knew was IMDb's Drama, Fantasy, Horror categorization. Little did I know that I was about to experience two hours of a beauty so mesmerizing that it would almost bring tears to my eyes.

November is one of those rare cinematic creations that transcends the medium from mere entertainment into a profound work of art. I can think of only a handful of directors that have lifted the art of cinema to this level, such as Akira Kurosawa, Stanley Kubrick, David Lynch and Lars von Trier.

November is a surreal, dark fairy-tale that takes place in a mediaeval Estonian village. The story is a mix of Shakespearean romantic drama and rural folklore that pleasantly reminded me of the magical countryside fairy-tale atmosphere in the works of the Croatian naive art painter Ivan Generalic, as well as the imaginative surreal comics by the Greek-French comic creator Fred (Frédéric Aristidès).

The most breathtaking aspect of November is its cinematography. The film is shot in moody, darkly romantic black and white photography with beautiful lighting and screen compositions.

But November is filled with beauty in multiple layers. A beautiful soundtrack - incorporating Beethoven's Mondschein-Sonate - intensifies the atmosphere, the costumes, sets and overall art direction are gorgeous, and there's even lyrical poetry of a poignant grace. It will be a challenge to create something more romantic than November has established.

Last but not least, the casting and actors are also laudable. The two main female characters radiate a magnetic beauty, and the peasants look like they have been time-transported from an actual mediaeval village.

The Break (2016–2018)

A brooding and intense experience that crawls under your skin

[9/10 · 9 February 2017]

After trying several series on Netflix that didn't appeal to me, I decided to give the recently added La Trêve ('The Break') a try.

The first episode seemed like an exploration of the characters by the actors and creators, and it felt good. My curiosity was awakened and I looked forward to the next episode.

La Trêve turned out to get better with every episode. The brooding atmosphere and intriguing characters started to crawl under my skin. The main actor — Yoann Blanc — established an admirable performance. His character gets more and more intense as the series progresses. But just about every actor shines in La Trêve.

The story development is gripping, with several plot twists that leave the series relatively unpredictable until the end. I loved the aerial shots of the beautiful Ardennes scenery, adding a sense of mystery to the story. The atmospheric soundtrack really completes the dark, slightly surreal impression of La Trêve.

What I loved most is the dark, fatalistic tone that effectively surfaces more and more throughout the series, giving you an uncanny feeling of inevitable, impending doom as Yoann gets closer to solving the murder case, unveiling the hidden, twisted secrets of several village inhabitants.

If I'd have to say something negative about La Trêve, I'd reluctantly admit that some of the plot twists were a bit far-fetched. But the plot twists also kept the story thrilling.

La Trêve is a fine example of what is labeled as New Belgian Noir. An interesting, dark blend of elements from Twin Peaks, True Detective and Broadchurch.

The Bridge (2011–2018)

Another fine example of Scandinavian quality

[9/10 · 2 March 2014]

Bron / Broen (The Bridge) is another fine example of the high quality of Scandinavian movies and series. The scenario is original and clever, and the acting is very convincing, with special compliments for the main characters Martin Rohde (Kim Bodnia) and Saga Norén (Sofia Helin). I frequently laughed out loud because of Saga's unintentionally funny remarks, but also had to wipe away tears.

I watched it using the Dutch Netflix streaming service, and had to get a grip on myself not to binge-watch all episodes at once, but saving one episode for every evening.

Forbrydelsen (The Killing) was the best Scandinavian series I had seen, until I saw Bron / Broen. My respect to everyone involved in creating the series.

Antichrist (2009)

A rare gem

[5 November 2011]

Antichrist left quite an impression on me. The level of creativity and originality in this movie is rare and comparable with masterpieces like Eraserhead by David Lynch.

Let me start by stating that this movie is clearly one of those 'either you love it or hate it' cases. The explicit sexual content and unconventional approach to horror is definitely not suitable for Hollywood aficionados.

Lars von Trier proves he is a true maestro in establishing a very effective feeling of disturbance throughout the movie, without resorting to hackneyed horror clichés.

The cinematography is breathtakingly beautiful, like a very dark fairy-tale, and there are a number of scenes that gave me goosebumps to an extent I haven't felt for quite a long time. The goosebumps even return while I write this, which illustrates the impression this movie made on me.

I also loved the poetic symbolism in Antichrist. It just all fits together so well-balanced. My sincere respect for the creators of this rare gem.

Departures (2008)

One of my all-time favorite movies

[9/10 · 13 April 2009]

It had been years ago since a movie moved me so much that it had brought tears to my eyes, but I couldn't keep my eyes dry while experiencing Okuribito. The story, acting, music and photography are all very impressive.

I guess everyone can in some way relate to the emotions that are conveyed in Okuribito. In my humble opinion this movie is a classic in the likes of Akira Kurosawa's and Yasujiro Ozu's best work: subtle, elegant, serene, soulful, touching and timelessly beautiful. This kind of cinematic storytelling stands high above the usual formula-driven, soulless, commercial Hollywood crap.

Manneken Pis (1995)

Beautiful atmosphere

[6 October 2004]

I have to admit that I haven't even seen the whole movie, but watched some television late at night and while zapping the magical photography of Manneken Pis caught my attention. From that moment the dreamy pictures and the atmospheric musical score of the movie kept fascinating me. The cute lead actress Antje de Boeck is filmed in such a tender way that it feels as if the whole crew had fallen in love with her. A very charming movie that steals your heart.

The Incident (1967)

A masterpiece

[15 September 2003]

I watched The Incident in a hotel room at night. I was very impressed by the actuality of the theme. The movie is very thought-inducing because of the strong psychological peep-hole it offers into the behaviour of the people that are present in the metro. The movie also summons a strong sense of justice while you watch it. You'd almost wish you could jump into the metro through your screen and teach the villains a lesson. Very good acting by Martin Sheen and Beau Bridges and especially by Tony Musante.

A classic, in my humble opinion.

Tron (1982)

Inspiration for The Matrix

[20 June 2003]

After seeing this movie again I was amazed how much the computer world full of software and hardware metaphores was similar to the computed world of The Matrix (1999). You've got guards that are comparable with the agents from the Matrix, guardian tanks etc. that are comparable with the spider-like robots from The Matrix. The computer programmer that gets into the computer world turns out to have extraordinary powers, like Neo. And so on. I'm pretty sure the Wachowski brothers got at least some (maybe unconscious) inspiration from Tron.

Even after all these years the design and storyline of Tron are still fantastic. I think it's the honourable godfather of 3D animation on the big screen, forming an undervalued, important gateway that channeled 3D graphics from computer-scientific obscurity into mainstream media, and establishing new computer graphics techniques that paved the way to Pixar's 3D animation revolution in the 1990s.

My deepest respect to Tron's creators for realizing such a visionary movie in a time the world wasn't really ready for it yet.