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
Friday, 31 December 2010
Thursday, 30 December 2010
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
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
Wednesday, 29 December 2010
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
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
Thursday, 16 December 2010
+
The Golden Globe noms for this year are balls.
Total balls.
Don't know what I was expecting really.
Total balls.
Don't know what I was expecting really.
Thursday, 9 December 2010
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
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
YOYOYO
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Check it.
Word on the street is it's gonna be big.
If you follow me, you must follow what I follow.
So follow.
Sluts.
http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/http://iamhateful.blogspot.com/
Intellectual Dolphin agrees!
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