2011 was probably the biggest year for me and movies. I saw my first films from directors who are now among my favourites, such as Ingmar Bergman, Krzysztof Kieslowski, and Jean-Luc Godard. I learned a lot from them, and they helped me shape my love of cinema today. Recently, Stevee at Cinematic Paradox wrote a […]
A great movie title sequence sticks in your head; whether it’s the start or end credits of the film. There are plenty of lists of great title sequences featuring more popular or well-known movies, but here are five memorable title sequences that get less recognition than, I feel, they should. Enter the Void (2010) Everyone […]
He’s been called a racist. A misogynist. A spiteful man who disrespects the rules of cinema and is casual with showing unsimulated sex and/or graphic violence. In my opinion, he’s one of these things, and thankfully it’s not one of the first two. Lars von Trier is a filmmaker, who has been making movies since […]
One might be surprised to discover that my two favourite scenes of all time from movies are both from films directed by Paul Thomas Anderson. About two months ago, I revealed my favourite scene of all time and promised to try and work on a list of great scenes. Well now I’ve finished compiling the list, and here it is, unleashed. They’re in no particular order, as it would be too hard to rank them, but I’ll start off with my second favourite scene of all time.
1: The Drug Deal Scene, Boogie Nights (1997)
Everything in this scene is pitch perfect. The tension works brilliantly, with the firecrackers and nervous tics. And the soundtrack… unbelieveable. You’ve got to hand it to P.T.A., he can pick the right music for any movie and it suits perfectly. There’s also a 45-second closeup of Mark Wahlberg (6:30-7:15) that is perhaps my favourite shot in the movie. Not because I like Mark Wahlberg, but just because it’s a perfect little piece of Anderson, and it reveals so much about Dirk Diggler without saying a word. Fantastic.
2: The Goy’s Teeth, A Serious Man (2009)
A perfect example of what makes the Coen brothers so unique. They can have a long, rambling, incredibly interesting monologue with virtually no meaning and it makes sense. The scene is both fun to watch and full of anticipation. Sure, it might be a let down to discover there’s no point in the whole thing, but it’s part of life. A lot of what we go through is long, tedious and has no real affect or reason, and yet, we live through it. The truth is, some questions weren’t made to be answered, and this scene sums it up perfectly.
3: The Street Shootout, Heat (1995)
Michael Mann’s visually daring 1995 heist movie features one of my personal favourite sequences of extended violence and warfare. Imagine a gritty shootout between many men, placed in the middle of a bustling street. Might not sound like the most original idea now, but back in 1995, it sizzled.
4: The Briefcase, The Killing (1956)
Though I sadly cannot find a video for this fantastic final scene to Stanley Kubrick’s heist movie, I can assure you it is brilliant. When two thieves are getting on to a plane escaping with millions in a briefcase, the unexpected happens, the briefcase opens, and all Hell breaks loose. A visually stunning shot, that in some ways anticipated Kubrick’s whole career.
5: Gutterballs, The Big Lebowski (1998)
A perfect combination of stylistic music and sexual innuendo combined with the Dude’s love of bowling, this priceless sequence makes the entire movie worth watching and symbolises (like #2) the uniqueness of the Coen brothers. No other director/s could have pulled this off.
6: “Hello, Dimitri?”, Dr. Strangelove (1964)
If there was a top prize for awkward, subtle humour in film, Dr. Strangelove would be a definite contender for top spot, and this scene explains exactly why. It makes me laugh every single time I watch it, and the first time I saw it, I was in tears by the time it ended. Fantastic. If you like to think you have anything resembling a sense of humour, you must see this movie.
7: Alice’s Monologue, Eyes Wide Shut (1999)
This is not actually the whole scene, but it’s enough of it to get the point across. Nicole Kidman is absolutely fucking fantastic in this scene, spitting out each line perfectly in character and in a manner that almost puts the viewer into the same drug-induced trance as her. A fantastic look at the effects of marriage and human relationships, this is definitely the film’s highlight.
8: Mr. Blonde, Reservoir Dogs (1992)
There are a lot of scenes which deserve a spot on here from QT’s breakthrough debut and it was really tough making a decision, but no other scene has the raw impact and masochistic beauty of this brilliantly filmed violence overblow. QT laughs in our faces and left me gaping when Mr. Blonde exited the warehouse and everything changed for those brief few seconds. He’s a genius, and this scene is a testament to his ability.
9: The German Girl, Paths of Glory (1957)
I hope you have a box of Kleenex, because you may be about to cry. The following is technically two scenes, one in which Kirk Douglas tells his boss where to stick his promotion (my favourite line in the film occurs at 0:59, listen for that one), and in the second part, in a scene that really is a testament to the heartlessness and cruelty of war, a German girl is forced to sing by a bunch of rowdy, drunken, ogling American soldiers, but the unexpected happens. Seriously, this scene… I cannot express my love for it enough, and it is one of the main reasons it’s placed so high among my favourite movies of all time. The best scene Kubrick ever directed. Ever.
10: Perfect Day, Trainspotting (1996)
Apparently, embedding is disabled so you can watch it here if it doesn’t work. What follows is an example of Danny Boyle’s great talent. He hear combines a scene where we see the protagonist Renton (Ewan MacGregor) take a “final” hit of heroin, and uses the best possible music to ironically describe the hellish levels to which he has sunk. Spectacularly depressing.
11: The End, Dogville (2003)
I warn you now, do NOT watch this scene if you have not already seen the movie. It contains spoilers that should NEVER be spoiled. It is the almost perfect, sadistic ending to Lars von Trier’s amazing stage-play filmed Dogville. It’s definitely in my Top 5 for jaw-dropping scenes. You will be stunned.
12: The Club Silencio, Mulholland Dr. (2001)
A beautiful, artistic, memorable scene from David Lynch’s amazing movie, this is a really well-done look at the thin line between dreams and reality, and how easily we can be tricked.
13: Don’t Leave, Magnolia (1999)
I know I’ve mentioned and shown this scene all over Southern Vision a few times, but if you haven’t seen it, it really is worth it. In general, I dislike Tom Cruise as an actor. But in this scene… wow, he really packs a punch that’s difficult to shake. Amazing portrayal of grief and loss.
14: Plastic Bag in the Wind, American Beauty (1999)
The scene has such emotion, and beauty, that there’s really nothing much left to say that Wes Bentley doesn’t say himself. Great background score from Thomas Newman, one of my favourite musical score composers of all time.
15: The Pool Scene, Let the Right One In (2008)
Almost poetic in its use of strewn body parts, sudden deaths, and great audio, this scene forces the audience to use their imagination which produces much more horrific results than any scary imagery. A beautiful, terrifying scene.
16: The Boardwalk Scene, A Clockwork Orange (1971)
The perfect combination of sickening violence and amazing classical music, Stanley Kubrick’s controversial masterpiece features countless great scenes of amazing direction, but this one tops them all.
17: Standing In Line for a Movie, Annie Hall (1977)
Woody Allen’s famous comedy works more like a series of hilarious sketches, and it’s difficult to pick just one, but when I watched it the first time, this scene really struck me as very funny, and has been parodied often in pop culture.
18: Lovefool, Hot Fuzz (2007)
This list would go uncomplete without a reference to the funniest of all the hilarious scenes in this Edgar Wright classic. The look on Simon Pegg’s face is hysterical.
19: The Copacabana Shot, Goodfellas (1991)
You’ll have to skip to two minutes before the actual shot starts, but it is a brilliant one. One of the most famous and influential tracking shots in all of cinema, this really pumps up the class in this Scorsese classic and is one of the many reasons it is as brilliant as it is.
20: Dreams, No Country for Old Men (2007)
A fitting way to finish off this list is with the disquieting, eerie, brilliant final scene that tops off an amazingly fantastic movie. Tommy Lee Jones leads the Coen brothers’ western-style classic to an awesome conclusion.
There, that’s my list. There’s plenty more I could add, but this is enough for now. So, what do you think? Anything you’d like to add? Leave a comment below.
Today I’m gonna be reviewing two movies in Lars von Trier’s as-yet-unfinished “USA Trilogy.” They’re both worth seeing for the unique style in which they are made, but more about that in the reviews.
Dogville is possibly Lars von Trier’s most widely disputed movie to date. Everyone seems to have an opinion on it, and more often than not, that opinion is divided. Half think it’s brilliant, and the other half despise it. Some have called it anti-American, others sexist, and others have condemned its explicit, “unnecessary” violence.
Well, first thing’s first, since a review is based on opinion, here’s mine: It’s fucking amazing. I loved every moment of Dogville, and while the 3-hour runtime might seem a bit excessive, it still manages to be worth it for the amazing, gruesome, Tarantino-esque finale. And if you don’t like the runtime, then try get your hands on the Australian copy, which is roughly 50 minutes shorter.
Lars von Trier has a habit of making the female protagonists in his movies martyrs for their cause. While Dogville and Manderlay share the same protagonist, Grace, it is debatable whether you want to use that term. Nicole Kidman plays her brilliantly, diving into the role and adding just the right amount of gental naivety and sinister background to her character.
She plays the aforementioned Grace, a woman who stumbles into the titular town and asks its citizens to hide her from the mob, who for some unknown reason, are after her. The citizens are at first dubious, but they decide to hide her in exchange that she helps them with their daily chores and jobs. This soon spirals widely out of control as the “chores” become harder and the “jobs” turn into slave work, leading to mistreatment, spitefulness, rape and murder.
If you’ve seen Dogville, you might find it strange that I’ve yet to mention the most notable detail about the way the film was made, and the thing that turns most people off. In fact, it is an amazing artistic choice and works perfectly. What is it? Well, von Trier decided to film the entire movie on a stage, where all the buildings are nonexistent, their presence marked by chalk lines on the ground. It’s as if we’re watching a play, and the film never leaves that small set (except for the scene in the limo near the end). It’s really quite amazing that it was filmed in this manner, but it’s strangely suitable and makes for an even more invigorating and shocking movie experience, particularly in a rape scene where it has a simultaneously comic, ironic and tragic effect.
Dogville contains some surprising cameos from many actors, including Philip Baker Hall, Ben Gazzara and James Caan, all in great roles (particularly the latter). They serve the movie brilliantly, isolating it with their presence and making it seem more strange and mysterious.
But the striking chord about Dogville, the thing that really sticks, is the ending. Lars von Trier rushes to this apocalyptic end and thrashes into it with such a force that it is like a cruel, sickening but brutally satisfying denouement. You will be shocked at its excess, but unable to turn your head away from the screen, and when the ironic and disturbing credits start playing, you’ll have your mouth dropped, trying to comprehend how von Trier has gotten away with it.
Is It Worth Adding To Your Netflix Queue?:
The follow-up to Dogville replaces Nicole Kidman with Bryce Dallas Howard. The choice might at first seem foolish or mistaken, but Howard steps up to the role, jumps in and delivers.
The film resurrects the theme of slavery brought up in Dogville, but this time goes further with it. Our protagonist, Grace, abandons her father (James Caan is replaced by Willem Dafoe here) to help a small town, the eponymous Manderlay, in its struggle. The town is run by a rich white family, who are still using black people as slaves, unaware this is now forbidden. When the family’s head dies, Grace feels it is her job to take over and convince the black citizens that they should be free. However, they do not all share her views.
Howard really steals the show here, playing Grace with conviction and determination in a manner which Kidman failed to provide. Her attitude is fresh and bold, and it seems as if she is unstoppable.
Like Dogville, Manderlay is filmed on a stage, but this time von Trier is less ambitious, with a few extra doors and props available to make the action work a little better. Like the predecessor, it is narrated suitably well by John Hurt, observing the action casually and almost regretfully.
As far as sequels go, this is terrific, and some have said it outplays the original. It does have a great twist, and a decent ending, but all in all it doesn’t retain the gusto and daring provocation of Dogville. Nevertheless, it is a powerful cinematic work.
Character is key here, as it was in Dogville, and von Trier adapts his characters in the same manner as usual, but with more noticeable flair; in fact, you could say that Manderlay contains his best example of character transformation, such as in the whipping scene at the end, a truly frightening set piece. But then again, he was always good with his characters, and while the lovable, foolish, fearsome but in the end relatively harmless Grace manages to intrigue and repel, it’s characters like Bess MacNeill from Breaking the Waves and Selma from Dancer in the Dark that we yearn for. Characters with freedom and innocence. There is no innocence or freedom here, even after the slaves are freed. Only a sense of foreboding, and the inevitability of trouble in the future.
Is It Worth Adding To Your Netflix Queue?:
So those’re my reviews. Got anything to say about Dogville or Manderlay, or Lars von Trier in general? Say it in the comments below.
Believe me, I LOVE a good historical epic. Love ’em a lot. But most of them are films you can enthusiastically watch once, and never return to again. This is the case with a lot of ’em, and a lot of other assorted ‘long’ movies, but there are a special selection of movies that are AT LEAST 3 hours long that I can watch over and over and over, and possibly never get tired of them. And here they are, in order of how many times I’ve seen them.
The Best of Youth (2003)
This high-spirited, epic Italian drama is a literal lifetime spread out through six hours of pure bliss. Please do not be turned off by the runtime; this is a brilliant, insanely watchable and gripping family drama; to quote Roger Ebert: “The film is six hours long but it is also six hours deep.” An unforgettable film I will never regret watching. View Count: 1, but I plan to buy it soon and then watch it over and over.
I know it’s going too far to call this “the best movie of all time.” That’s an impossible statement to make, so I’m not going to venture to make it, but Krzysztof Kieslowski’s 10-hour Dekalog (conveniently sliced into ten equal pieces) is pretty damn close. It deals with pretty much all the themes, emotions and basic crises of the human condition, and it does so beautifully. A masterful, must-see epic, if ever there was one. Read my review. View Count: 1 (Be fair! I only saw it for the first time a month ago!)
Though there is dispute whether this is a documentary or a film, Claude Lanzmann’s Shoah is the most powerful, full, emotionally visceral film about the Holocaust ever made. At a whopping nine hours, some will undoubtedly be bored, but Lanzmann’s movie is, for me, anything but boring. He provides interviews with those both directly and indirectly involved in the mass murder of the Jews, and provides haunting looks at some of the places these atrocities occured. Chilling; epic; a masterpiece. View Count: 2.
Fanny and Alexander (1983)
Ingmar Bergman’s magnificent 3-hour (or 5-hour, depending on which version you’re watching) masterwork is a brilliant, beautiful, astounding work of art. Sven Nykvist’s cinematography makes every image look like a fantastic, colourful painting, beautifully directed by an amazing Bergman at the height (and end) of his theatrical career. Jeez, I’m running out of adjectives. View Count: 2
Of all the brilliant epics David Lean directed, the only one that really hooked me and made me fall in love with it was Lawrence of Arabia. Crossing the 3 and a half hour mark, it may be long, but it sure is beautiful. The stunning images of the Sahara Desert combined with the sheer will of Peter O’Toole’s T.E. Lawrence combine to make a fantastic, riveting movie. View Count: 2.
Lars von Trier has made many films that have very divided opinion, and the one with the most divided is probably Dogville. It seems half the audience hate this fantastic 3-hour drama about social mistreatment, cruelty, and the ultimate price of letting everything go. If you’ve seen it, then make sure you visit this page and leave a comment rating it out of 10 by June 24, 2011. Anyway, it’s a fantastic (but debatable) movie that I absolutely love. View Count: 3.
Barry Lyndon (1975)
Stanley Kubrick’s longest film is actually 3 hours long, and often forgotten about when Kubrick’s name and filmography is mentioned. However, it is one of his best films, a fantastic epic about the lifetime of a young man (Ryan O’Neal) who ascends to royalty in the 19th century by fighting and cheating his way to the top. Beautifully lit, this scenically marvellous and emotionally riveting (particularly within the gripping last hour) film is sadly underrated. View Count: 4.
The Godfather, Parts I and II (1972, 1974)
Both of these films, which together total over six hours, are absolutely enthralling, brilliant masterpieces from Francis Ford Coppola that revolutionized and revitalized a mafia/crime drama genre, undoubtedly inspiring such classic directors as Martin Scorsese and Brian DePalma. Not to mention I can watch them over and over and over without ever getting tired. View Count: 6.
Inland Empire (2006)
I seem to be the only person who loves this movie enough to say it is perfect. David Lynch’s 3-hour masterpiece is a very inaccessible but still hugely enthralling delve into the unusual, darker side of humanity. A seemingly senseless, plotless series of scenes, Inland Empire actually has a bustling, multi-layered plot which is extremely difficult to decode, probably the reason I’ve watched it so many times. It’s really a film that needs to be seen to be believed, and I don’t like to throw that phrase around. View Count: 8.
If you read my blog you probably know this is my favourite movie of all time, and that is fair enough reason to watch it 19 times. That’s right, NINETEEN! I’ve watched this 187 minute labyrinth of emotions almost twenty times in its entirety, and I never, never, NEVER get tired of it. I’ve written a very long essay on it (which I plan to post to the site soon enough, pending further editing), and forced friends to watch it more times than they care for. Even if you don’t love this movie, as I’m certainly not expecting you to, you have to admit it has serious emotional power, and it is a testament to the brutal, strong ability of Paul Thomas Anderson, a man who was BORN to be behind the camera. Affects me in the same manner each and every time, and was arguably the film that fuelled my love for cinema. View Count: 19.
What are some awfully long movies you love to watch? What about ones you think are too long? Not long enough? Seen any of the movies above and have something you’d like to say? Leave a comment below. Thanks for reading.
Last week, I started a new feature called The Weekly Movie Challenge, in which I asked you to watch a movie and leave a comment with what you thought of it at the bottom of the page. Your goal was to watch it within a week, if you could, and if you’d already seen it, to leave a comment with a small review of it. There was only one response, but I’m not giving up on this idea. Last week I asked you to watch/review The Manchurian Candidate which is not a very widely seen movie, so this time I’ll name a more “known” movie, but one that not everyone will have seen. This week’s movie challenge is:
If you’ve already seen it, this is what I want you to do: Leave a comment below with a small review of what you thought of it, and can I ask you to please RATE it out of ten. Not five, not three, not anything else, just ten please. If I get enough comments, I’ll try to figure out an average rating for the film. But if there aren’t enough comments and ratings, I won’t be able to do that. So if you’ve seen Dogville, leave a comment now before you forget.
If you haven’t seen it, your challenge is to watch it before 24 June and leave a comment with what you thought of it, and a rating out of ten. Don’t feel any pressure… I realize that a lot of people are very busy and can’t do this, but if you could at least try, I’d be very happy. I personally think it’s a great movie, and even though there are some people out there that won’t like it, they’ll at least learn something from its clever imagery and inventive ideas. Tarantino fans will love the ending *wink wink*
So there’s your challenge. Hope you enjoy the film, and thanks for participating, or at least, for reading this small post.
I love writing reviews. I love it a lot. And I like it when reviews turn people onto movies they wouldn’t normally watch, as they have for me on many occasions. But sometimes people don’t have the time to read a full review, and just want people to get to the point. To satisfy these impatient but forgivable men and women, here is a list of twenty-five films, reviewed within one paragraph. They range from the completely terrible to the utterly brilliant. This of course, is all based on opinion, which is what makes the process of leaving a comment so integral. So make sure you do that. Anywhere, here they are, in a completely random order:
1: Freeway (1996)
It’s hardcore dark humor that is difficult to appreciate combined with the complete impossibility to sympathise with either of its main characters might normally make this a bad movie. But in some strange way, it has a charm, which obviously appealed to Executive Producer Oliver Stone. 7/10.
2: Short Cuts (1993)
Robert Altman knows a lot about people, as this mammoth 3-hour film proves. Back in ’75, he did it with Nashville, and retaining some of the jazzy musical flair, he returns to weave a complex web of a range of emotions that was a nice follow-up to The Player and a major influence on Paul Thomas Anderson. 9/10.
3: Fear and Desire (1955)
Stanley Kubrick’s first feature film was a disappointing one; so much so that he went as far as to withdraw all copies from distribution. It can still be found on the internet, but Kubrick was right when he said it was his worst film. 4/10.
4: Wild at Heart (1991)
My least favourite David Lynch film (and I LOOOOOOOOOOOVE Lynch) is a twisted romantic thriller with all the familiar Lynchian character types and plenty of Lynch’s snazzy retro styles but seemingly devoid of emotion. The highlight is easily the ugly Willem Dafoe character, but he only barely manages to save this wreck. 5/10.
5: The Green Mile (1999)
Seeing this at age 14, I felt a poignant sense of love for a film in a manner which was new to me. If, at that age, I had compiled a list of my favourite films, it would probably be number one. Growing up, I realized my fickle naivety at loving this Darabont gem so much, but it still retains power. 8/10.
6: Somewhere (2010)
Though Coppola’s take on an age-old plot is rather inaccessible, it is undoubtedly original, and her solid directing and some very touching cinematography make this so wickedly awesome to look at. Plus, the boozy relativity of Stephen Dorff and the contrasting charm of Elle Fanning make this an underrated treasure. 8/10.
7: See No Evil, Hear No Evil (1987)
Of the Gene Wilder and Richard Pryor pairings, this is certainly not the most well-received, glamorous or best, but seeing it at age twelve I could NOT stop laughing. They play the respective roles of a deaf and blind man in such a hilarious manner that it’s impossible not to. But at the end of the day, this is them doing what they’ve already done, in many ways. 6/10.
8: Liar, Liar (1997)
I saw this in theatres with my Dad when it came out and we had such fun. Turning ever slightly into a more bearable personality with each film, Carrey seems to hold up the role of a flabbergastingly talkative lawyer with ease, slipping in dozens of clever, witty one liners and winning the audience one chuckle at a time, despite its flaws. 7/10.
9: A Serious Man (2009)
It took more than one viewing to fully appreciate what Joel and Ethan Coen were trying to convey with this deceivingly simple story of a Jewish man’s struggle in middle-class society as everything he touches breaks (metaphorically) and he is subject to blackmail, deceit and countless unlucky circumstance. Honest about life and a real eye opener, it proves that the Coens will perhaps forever retain that undeniable charm. 9/10.
10: The Rocky Horror Picture Show (1975)
With a bit of a mind flip, you’re into the time slip, and nothing will ever be the same. Though I certainly never went as far as to dress up and gather props, watching this cult classic gives you an appreciation for its intelligence about comedy and its beautiful tributes to science fiction and exploitation hits alike. 7/10.
11: Casino (1998)
I’ve never been to Las Vegas, but watching Scorsese’s Casino felt like a three hour trip around a rollercoaster of emotions that encircle the pretty-on-the-outside city. De Niro’s stony appearance and Pesci’s familiar disturbing intolerance as well as general greed and sin are an unattractive portrait of a moment in time where no one was safe from corruption. 8/10.
12: Gigli (2003)
I had suspected something stinky early on, but when Ben Affleck and Jennifer Lopez started their pathetic argument about penises and vaginas, I began to feel really sick. What makes it even worse is the presence of Martin Brest as director and screenwriter. How can a person so quickly move from things like Midnight Run and Scent of a Woman to this? 3/10.
13: One Flew Over the Cuckoo’s Nest (1975)
For a fleeting second in this superb adaptation of Ken Kesey’s novel, whilst watching the DVD, I grabbed for the remote to pause it but found myself unable to. I realized when it had finished that that flash of a second was me deciding this was the best film I’d ever seen, but within moments, that exaggeration was gone. It isn’t the best one. But it’s a f*cking good one. 10/10.
14: The Brown Bunny (2003)
From its famed disastrous Cannes screening to the nightmarish controversy which followed, Vincent Gallo’s second directorial film was always going to garner the wrong sort of attention, but I think it is vastly underrated. It took me more than one viewing to even begin to like this movie, but now that I’ve had time to think about it, I realize what Gallo was trying to achieve and I respect him even more. Read my full review here. 7/10.
15: The Killing (1956)
Probably the first “great” film Kubrick released, this tense, pacing heist flick is full of brilliant scenes and the early stages of what would soon famously become the “Kubrick” cinematography style, and a final end scene completely coated in excellence. Impossible to hate, it is a must-see for all heist movie fans. 8/10.
16: Punch-Drunk Love (2002)
When compared with the films that preceded it, Paul Thomas Anderson’s quiet little drama might seem a little disappointing, but it’s arguably an excellent work of art, full of Anderson and the emotion he’s so talented at conveying. It also features cinematography and a use of light that is, in a word, stunning, and quite unexpected, much like the notable performance from a frustrated Adam Sandler. 8/10.
17: The Diving Bell and the Butterfly (2007)
A beautiful movie that makes you feel quite triumphant, this magnificent true story about a paralysed man who communicated and “typed” his entire autobiography to a typist by blinking (and doing only that) is not a frightening vision of a rare but dangerous affliction but rather, a tale of succeeding, when the rest of your body was telling you to fail. 8/10.
18: Rain Man (1988)
Dustin Hoffman’s remarkable performance as the Autistic Raymond would be enough to turn any self-indulgent prick like Tom Cruise’s character into a more emotionally respectable person, and as if that weren’t enough, his love for K-Mart, fresh underwear and Who’s On First make him instantly likeable. 7/10.
19: City of Ember (2008)
While babysitting my sister’s kids, we (meaning they) decided it would be awesome to watch this futuristic drama. Though the presence of Tim Robbins and Bill Murray is enough to stir the eyes of any adult in bland interest, neither of them are trying anything comedic here and while the premise is interesting, it is ultimately disappointing. 5/10.
20: October Sky (1997)
I feel sorry for a lot of people for this movie, Chris Cooper most of all, because when accepting this role he probably thought it would be the only time he would have to play a self-indulgent prick of a father. Then along came American Beauty, and self-indulgent prick was an instant typecast. Anyway, this movie is a bland but fair true story about some kids who build rockets, but it’s more for kids. 6/10.
21: Being John Malkovich (1999)
Hello, Kaufman. Hello, Jonze. Hello again, instantly despicable but strangely appealing John Malkovich. Hello, good movie. The interesting premise of this comic drama follows through nicely, retaining a lot of originality and pacing itself neatly enough. The only disappointing scene is one that also seems to be strangely witty, involving a chimpanzee flashback. 8/10.
22: Dogville (2003)
Lars von Trier is a director who I don’t think has ever (or will ever) make a really accessible movie. Dogville is no exception to this rule, but it is also Trier’s best. The use of setting the whole thing as a stage play makes it seem smaller, down to Earth, and a whole lot easier to follow, and the acting performances by a collective group of great actors playing members of a small town is equally impressive. 8/10. Heck, maybe 9 considering the fantastic ending.
23: A Fish Called Wanda (1988)
Revealing some unpleasant truths about relations between Brits and Americans, this absolutely f*cking HILARIOUS movie is flat out funny, all the way through, with Pythonesque jokes, and a thought-provoking analysis of the system of slapstick crime movies, this continues to delight and impress with each viewing. Sooo funny! 8/10.
24: Bruno (2008)
What may be so appealing about Sacha Baron Cohen is his disregard for social convention and love of all things outrageous. His follow-up to Borat, goes further than its predecessor, into the realms of homophobia and stereotypes, but still managing to come up clean on the other side, though some scenes might be excessive. 7/10.
25: Amores Perros (2000)
Spanish (or Mexican, whichever you consider to be most applicable) cinema is one of the most intriguingly relevant of foreign cinemas today. Celebrated director Alejandro Gonzales Iñàrritu creates tense sequences and stories of life in Mexico that are full of raw, uncensored emotion, particularly some heartbreaking sequences in the last half. Surprisingly brilliant. 9/10.
That’s my opinion, now what’s yours? You know the drill. Do you agree/disagree with what I’ve said about movies above? Leave a comment with some very short reviews of your own. It can be from any movie at all.
Thanks for reading.
Where I am here in New Zealand, it’s Friday morning as I’m writing this, and I’m getting ready for a long day of work… followed by MOVIES! Here’s what I have planned to watch:
The White Ribbon (2009)
The last great Michael Haneke movie I haven’t seen. I’m a huge fan of Haneke, ever since I saw Caché, and just looking at the awesome poster is giving me the chills.
Let Me In (2010)
I missed the cinema showing of this because I was busy trying to find a copy of Let the Right One In, which I’ve since declared a masterpiece of foreign horror movies. I can’t wait to see Matt Reeves’ take on it, which I’ve heard is very good.
Miller’s Crossing (1990)
One of a handful of Coen brothers movies I’ve yet to see, this noir-style crime thriller looks very interesting, and the presence of Gabriel Byrne and John Turturro alone promises a wild ride.
Rewatch: The Conversation (1974)
I thought it would be wise to watch this Coppola gem a second time, given its intricate secrets and subtle clues.
I’ve recently become a Lars von Trier addict and hopefully I can squeeze this one into my weekend. It looks quite good, but with von Trier you can’t be too careful. Hopefully it will be more cheery and lighthearted than Dancer in the Dark.
Those’re my plans. What do you think? Have you seen any of these movies? Are they good? Let me know by leaving a comment.
Thanks for reading.