True Grit

Director(s): Joel & Ethan Coen
Writer(s): Joel & Ethan Coen
Production Co.: Paramount Pictures/Skydance Productions
Year of Release: 2010
RECOMMENDED


Okay so I've seen this twice now, I should probably review it. I'm going to act like you know who the Coen brothers are, and if you don't a friendly IMDb page could sort you out. So, after their modern-western stint with No Country for Old Men (one of my personal favorite flicks), the Coens have decided to take on a real, rough and ready American western. How does the film compare to NCFOM? Poorly. But truthfully, it's apples and oranges. Don't be expecting a slow paced philosophical thriller, but rather a true adventure in every sense of the word. The world of the Coens is very much here however, this isn't a very big stylistic change, as everything within the film lives and breathes through witty dialogue and acutely drawn characters, just as it does throughout every Coen film. It is shot gracefully as ever by the king of cinematography, Roger Deakins. Every shot is carefully hand picked and fine tuned to create the maximum amount of beauty. With American landscapes paying tribute to the likes of Sergeo Leone and John Ford, with a subtle surrealism that neither captured (Although Leone did in fact capture surrealist images in his films, they were of a much different nature). Deakins does the American west a great service. In truth though, most of all it is with simple storytelling that this film shines most, (although being either a re-adaptation of Charles Portis' novel or a re-make of the original John Wayne film) the Coens did the great source material a justice by it's rather consistent pacing. True Grit never meanders or looses itself in it's themes, it is confident and takes you places you haven't been in a very long time with a hand on your shoulder, comforting you into the realization that cinema is facing a long-overdue return of the Western. With another Cormac McCarthy adaptation already in the works, and the strong box office results that True Grit has been seeing, I think we'll be seeing more adventures akin to True Grit in the future. All in all, this is a solid film that continues the Coens film making streak of the last four years, and further cements them as a cornerstone in cinema and auteurs in their own right.

Overall rating: 8.6
Status: AWESUM

Black Swan

Director: Darren Aronofsky
Writer(s): Mark Heyman/Andres Heinz/John McLaughlin
Production Co.: Fox Searchlight Pictures
Year of Release: 2010


I just got home from seeing this thing and I feel like writing about it. On paper this film could be taken any number of ways, and as apprehensive as I was (and will continue to be) about Aronofsky, I'm glad to say he's produced a good piece of work here. Very strongly reminiscent of earlier Polanski films such as Rosemary's Baby or Repulsion, with a bold mix of Kubrick gothica, Aronofsky wears his influences on his sleeve with this one. It's dark, abrasive, operatic, and generally over-the-top. The plot itself is quite predictable as anyone would have guessed, however it's the rather intriguing manner in which it unfolds which makes this film so watchable. The atmosphere oozes with a rich pallet of demoniac colors, and yes, Portman's performance is exceptional. The film strikes with such a deadly impact it becomes hard to blink, it is flamboyant, and it is evil. It is overall risky. However it is with such boisterous risks that the film hurts itself most, I'm speaking of one thing, and one thing in particular. CGI. The bane of cinema's existence. The CGI completely took away from the reality of the situation and made it that much more predictable. Imagine if you saw Rosemary's Baby for the first time, were absolutely inthralled and riveted as the rest of the world, only to discover (SPOILER ALERT) an uninteresting-looking CGI Demon baby in the crib at the end of the film. (END SPOILER) It was a very large, very intriguing build-up, for a rather ridiculous payoff. Although I suppose it does compliment the film's over-the-top, operatic nature. However it does counter it's delicate ambiance. Although, I still find myself with that feeling that I just saw something incredible unfold before me. The score, cinematography and sound design were very much standouts for me, and the film drew me in so tight I eventually felt I had to start putting effort into breathing. And if there were an award for best opening scene, I would have to give it up for this film. Given it's rather large flaw, Black Swan does still feel like an artist tapping into something divine, continually progressing towards the creation of a masterpiece, and although we may not have it yet, I'm quite happy sit through another 108 minutes of this again and again.

UPDATE: Actually, I'm quite disappointed in myself for this review. I guess I let a bit of Pitchfork's trigger happy praise out (sorry Pitchfork fans, but you're ridiculous). The more I think about this film, the more of a sour taste it leaves in my memory, that damned CGI was so terrible, and Aronofsky's preachy anti-drug message that was plastered all over Requiem for a Dream is also found here, in equally cringe-worthy sparks. It's a big step forward, sure, but it takes quite a few small steps back and I just don't think I can have it on my conscience to allow it's rather high 8.5 rating remain on my blog. All in all, I liked The Wrestler more...

Overall rating:  7.8

TRON: Legacy

Director: Joseph Kosinski
Writer(s): Edward Kitsis/Adam Horowitz
Production Co.: Walt Disney Pictures/LivePlanet
Year of Release: 2010

I'll keep this relatively short today I think, because I'm lazy but y'all need some film schoolin'. So what should you all expect from a sequel to a 28 year old revolutionary cult Disney film? ...Visuals. Oh Lawdz the visuals. I'm sure you've all seen the trailers by now (or the film itself) and noticed just how stunning it looks. As far as the script goes, come on, it's TRON. The film succeeds and falters in the same places that the original did. Kosinski and Co. have really tried hard to make this film as revolutionary as it's predecessor, and in truth, I think they've succeeded. While it wasn't the best move to create an entirely CGI-ed young Jeff Bridges, it certainly does speak bounds about the films ambition and helps create the sense of "this is now, our world is advancing". In truth though the film would have been much better without dialogue at all (although this is in a perfect world mind you, there's no way a production company would shell out the bones for something that artsy fartsy). As far as Daft Punk's score that everyone seems to be talking about, it's a score. It serves it's purpose and creates a good sense of momentum in the vein of Hans Zimmer's scores, only with a few more analog synths. The plot was thin (of course) and Jeff Bridges character was a little too reminiscent of The Dude, which didn't help the film at all. But I doubt anyone is watching the film for a great story. If you are expecting absolutely gorgeous visuals, great costume and art design then by George I think you'll love it. But don't be expecting an Oscar winner as intriguing as the trailers may be. As hesitant as I and everyone else in the stratosphere was about this film, I deem it overall, a worthy sequel.

Overall rating: 7.5

+

The Golden Globe noms for this year are balls.
Total balls.
Don't know what I was expecting really.

A Serbian Film

Director: Srdjan Spasojevic
Writer(s): Srdjan Spasojevic, Aleksandar Radivojevic
Production Co.: Contra Film
Year of Release: 2010


Okay. Alright. Okay. Let's see here. If you're not afraid of mild spoilers, go ahead and read this review, if they piss you off, then don't. A Serbian Film is (go figure) a Serbian film that's been getting a lot of buzz throughout 2010 for being outrageously shocking. Now, before I go on my tangent, I would like to state that I have no problem with shock cinema whatsoever, I think the genre has produced some pretty wonderful and painfully profound films in the past (see also; Salo or the 120 Days of Sodom - Point and case). But this just takes the proverbial cake. Spasojevic seems to have set a goal for himself to create the most vile, wretched thing known to man, and in truth he has succeeded. BUT, he takes so many cheap shots not only with the events in the film, but with almost every aspect of it. The overoveroverover-dramatic lighting, over-editing, over-acting. Essentially the key word in the man's dictionary is excess. This isn't maximalism, this is excess. Unnecessary extras. This doesn't feel like a tortured soul pouring his heart out onto society as a reminder of our failures and everything else that makes humans so terrible (as is the generic mission statement for most films in the shock cinema genre). This just feels like some dick that wants to be known for shoving a phalic through a person's skull, or giving birth to a baby and immediately raping it to death. Sure there's some symbolism to be found here, especially within the line "One happy Serbian family" (paraphrasing), which is overtly obvious in itself. So there really isn't much that stimulates the mind here other than 'Serbia is bad', and 'cencorship is ghey'. By the end of the film, you feel like you've had your last ounce of innocence taken from you by a mocking adolescent, and with films like Salo or Cannibal Holocaust or Antichrist, you feel like you deserve it. It should leave you emotionally exhausted, like a long-overdue punishment. A Serbian Film just feels like a thirteen year old mugging you, you feel utterly cheated and robbed of something you had every right to keep. If I could sum my opinion up or get my point across in any way, it would be that this is one of the few films that genuinely made me quite angry once the ending credits rolled by (see also; Avatar). 


Overall rating: 1.4

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Intellectual Dolphin agrees!

Three films that will be amazing.

Not entirely sure about Black Swan yet, but the trailer was damn intriguing... Aronofsky's been kind of hit and miss for me over the years. Plus it looks like something David Lynch should have done. We'll see...
There are trailers available for all three films. Go watch them and tell me what you think.

Mirror (Zerkalo)

CLASSIC

Director: Andrei Tarkovsky
Screenplay: Andrei Tarkovsky, Aleksandr Misharin
Production Co.: Mosfilm
Year of Release: 1975

So... Tarkovsky, one of the kings, where do I start? I watched this flick a few weeks ago and have been postponing a review for a while now, simply out of laziness. Now let me just get all my cards on the table right now and say that I. Adore. Tarkovsky. You know all that Avant-Garde symbolism crap that hipster fags go nuts for? (You know, a single flower in a garbage dump? etc.) Well sorry to disappoint you but this film which runs at 108 minutes with very little dialogue, slow pacing and imagery like this:

Has none of it. No symbolism whatsoever. Now, I like that. Because the idea of symbolism to me just seems stupid and pretentious and I feel like an dick deciphering imagery and translating it into 'beautiful poetry'. And if you enter this film with the intention of doing so, you will fail at life. Because that is exactly what Tarkovsky didn't want his audience to do. The point of the image itself is to be different from the word. And as the protagonist of our story explains that 'Words can't express everything.... a person feels. Words are flaccid'. The films poses (Or, even more, this is something Tarkovsky really had been proposing throughout his entire career, but it was never made more clear than with this film.) the notion that some things really just have to be felt, rather than explained. So when the film comes to a dead stop, the music begins a monolithic crescendo and the camera focuses in on condensation from a coffee cup disappearing, don't overwhelm yourself with the meaning of it all, because there simply isn't one. So really the best thing to do with the film is let go of all your thoughts, sit down, and get captivated by the amazing imagery (and it's not very difficult when it's shot this damn well). So relax, unwind, turn the lights off and just let go.
As far as the plot goes, it's pretty straightforward. It's about a (rather faceless) man who's dying and reflecting (or mirroring, huzzah!) on his past, whilst the film unfolds into a continuous reflection of his previous and current (and possibly future) familial generations, and the similarities thereof. But don't really worry about the plot, as it really stands to support the surrealistic sequences. 
Now, it's not the best of Tarkovsky's work, but that's really like saying The White Album wasn't The Beatles' best work (although I'm aware of how debatable that topic is so I'll leave it at that.), but this film is still leaps and bounds amongst the best flicks in a lot of other auteurs' back-catalogues. So watch it, sit back, and let the nostalgia enfold you. 


Overall rating: 9.0
Mega Awesum

Red

Director: Robert Schwentke

Screenplay: John Hoeber, Erich Hoeber

Production Co.: Summit Entertainment/DC Entertainment/Di Bonadventura Pictures

Year of Release: 2010

The word of the day is: Honesty. So I'm going to be honest, this was a pretty ambitious flick for me to review, simply because; what is there to say? It's a movie about a bunch of retired CIA agents kicking ass. What's there to critique? Well, I honestly don't know but I'll give it a go anyway.

First thing's first - this flick is goofy. It knows exactly what it is and it has a hell of a time messing around with it. It's big, it's loud, it's fast, and it's... A bunch of old people...? It's based on the graphic novel by Warren Ellis and Cully Hamner, which I, admittedly, have not read. However I would imagine that the films overtly comical style derives from that source.

It's not a movie to take seriously, it's got fun characters, and the script, directing, cinematography - everything, really just works to reflect that. There isn't a whole lot I can say about this film except for the fact that it's greatest strength, also happens to be it's greatest flaw: You really do have to leave your brain at the door for this one, which I'm sure anyone could expect from a film which title is an abbreviation of "Retired, Extremely Dangerous". There's a lot to love with this flick, but also a lot to simply, get bored with...

So if you want to go out and have a fun, simple easy going night with your friends, check it out. It also wouldn't be a bad flick for a first date. So go see it, enjoy it, have fun watching John Malkovich acting like a 10 year old paranoid schizophrenic, and the (always) delightful Mary-Louise Parker playing the every(wo)man, fitfully screaming at the expected absurdity. And just enjoy the hell out of old people kicking ass.

Overall rating: 6.0

The Social Network

RECOMMENDED

Director: David Fincher
Screenplay: Aaron Sorkin
Production Co. : Columbia Productions/Relativity Media
Year of Release: 2010

It's that time of year, bitterness is in the air as David Fincher releases another film. A film about Facebook. Perhaps most of us (I know I did upon first hearing of it) raised an eyebrow at the concept of a David Fincher directing a feature length advertisement. But hark! It's actually good! A great example of how a good director (and/or writer, gotta give credit where credit's due: Aaron Sorkin) can turn any simple premise completely full circle into something masterful.
Rather than making a film about Facebook, Fincher & Co make a film about Marc Zuckerberg, about the people Marc Zuckerberg pissed off, about the people Marc Zuckerberg liked, about the rise of a digitalized electric youth, and lawsuits. Lots of lawsuits.
I have to be honest in saying that I missed the opening few minutes as I was late in the theater, but the second I entered, before I could even sit down I was sucked into a fiery scene full of witty dialogue and fast pacing. The number one thing you come to grips with in your mind when you watch this movie is that it does. not. stop. It's like getting sucked into a perpetuating tornado of witty dialogue, fully formed and fully developed characters, and some of the finest acting I've seen all year, and it just packs it all on, the tornado keeps expanding with every second you spend glued to your seat.
Most of all, this film is an absolute zeitgeist. A look in to our not-so-distant past and not-so-distant future of a business world trying to adapt to consumers sitting in front of the computer, enjoying their internet memes and loling and brbing and wtfing. It's an objective look at what, and who we are. This film could not be any more relevant, and it was made at just the right time. This flick is like watching a John Hughes film in the year 1990, and thinking "Jesus, that's what high school was like". A bookend to another decade, and the big question is posed: "Sooo.... What now?"

Overall rating: 8.9
Awesum

Chungking Express

DISCOVERY

Director: Wong Kar-Wai
Screenplay: Wong Kar-Wai
Production Co. : Mirimax/Rolling Thunder
Year of Release: 1994

Last night I was bored, so I decided to take a nice drive to Barnes and Noble where I got me a bitchin' copy of Don Quixote and the Criterion Edition Blu Ray of this film. I was largely intrigued by it's cover, and I had an itch to spend my cash. So I got it, stayed up late at night watching it (which I can only say compliments the film), woke up this morning and decided to write a review.
The flick is divided into two (almost episodic) narratives about cops who've been recently jilted, and are in the grieving process finding love in a lonely, reserved city on the brink of it's cultural identity's demise.
The key word here is 'identity'. The film focuses on not only a youthful generation's, but an entire society's identity (or lack of). It successfully combines film-noir thriller elements with tender oddball romance and the glue that holds it all together is the consistent feeling of dissatisfaction, distance and longing that derives from all of them, further cementing the film's theme of a mass identity crisis on multiple levels.
There's some really divine cinematography to be found within this film. It's grainy, artificial and motion blurred look really helps the film stand on it's legs (not that it needs any help to begin with) in terms of mood and atmosphere. The acting is pitch perfect, as is the dialogue. There's some really simple yet provocative lines of dialogue in the film, not exactly divine musings but they keep the film grounded in the reality of it's characters. If you're a big 'plot person', there isn't a terrible amount to be found in the way of plot development, so this may not be your bag. But, if you want to see a gorgeously shot, witty, bubbly and quirky yet despairing and melancholic film that captures the voice of a generation, a society in peril and/or anyone that's ever felt just a little bit lonely, then rent/buy/steal this movie. I really don't have much bad to say about it. But trust me, you'll never feel the same about The Mama's And The Papa's song 'California Dreamin', canned pineapple, rain or chef's salads again.

Overall rating: 9.2
Mega Awesum

Welcome one, welcome all!

This is something I've been planning for a while now. My aim with this blog is to write reviews for films both new and old. Including classics, new personal discoveries and whatever happens to be on at my local Fox Theater. I also aim to create many 'best of' lists, picks of the month type deals and all time rankings. I hope you enjoy the page.