The Five-Year Engagement suffers from the same problem that is becoming more and more apparently in any of Judd Apatow's films, in the fact that it's far too long than it needs to be. It's the story of an engaged couple, whose marriage plans keep getting postponed/delayed because of various circumstances in their lives. While the film does have some sweet, tender moments, I think there are too many forced comedic set pieces, that at times make the film almost feel more like a series of comedic montages than a structured narrative-which isn't necessarily a bad thing, but in this case these comedic moments are very hit-or-miss. I really think Jason Segel is an incredibly charming leading man, who feels very genuine and I think without him, this movie would have suffered and failed almost entirely. 6.5/10
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The Avengers is the type of summer blockbuster entertainment that completely delivers on everything that's promised in delivering the best type of escapism Hollywood can provide. Studios should really take note here, because going with Joss Whedon, a filmmaker who has written comic books and knows these characters truly paid off. The script is witty, fun and fast paced but the reason it all works so well is that Whedon provides each character with a great amount of dimension and depth. The exchanges between these characters-Bruce Banner and Tony Stark working together in the lab, Captain America's old school patriotic mindset, or Thor's unique viewpoint, all of which took me back to my childhood and made me remember why I fell in love with these characters in the first place. Don't get me wrong, you don't have to have any preconceived knowledge of these characters to enjoy this film, because Whedon creates a film that stands on it's own merits and will appeal to both fans of these characters and new comers. The film even has some rather touching moments that create stakes and a sense of danger in the film, which I think most of Marvel's previous films have sorely lacked. I think this film, more so than any other superhero film ever, brings the pages of a comic book to life in delivering a grandiose adventure that is just incredibly entertaining and fun. The last hour is just non-stop excitement and for a movie that runs nearly 2 1/2 hours, it flew by. Without question, the HULK steals the show and there are sequences towards the end of this film that had me smiling from ear to ear. FUN FUN FUN. 8.25/10 I am always quite skeptical when I go into these cult-classic type films, and Equinox is one of those that I have heard good things about for years. I was incredibly happy to find out that this low-level b-movie lives up to the hype and really delivers on an incredibly fun, campy experience. It's the type of film that I found myself gushing over the ingenuity of it all. Essentially it's about a group of teenagers who are attacked by a demon, after discovering a demonic book, leading to an abundance of demonic monsters being summoned from hell to stop them. Sounds awesome, right? Is that acting pretty bad? Absolutely and there are some unintentional hilarious moments because of it, but that doesn't take away from the abundance of ingenuity. On a shoe-string budget, the special effects are cheesy, but wildly inventive, with all sorts of camera tricks and optical illusions. There is absolutely no doubt in my mind that this film directly influenced Sam Raimi, not only from a story standpoint, but also stylistically. The film uses some frantic point-of-view work that helps to illicit mood, while also having an abundance of kinetic editing, quick zooms, etc. Lot's of memorable scenes throughout from the Ranger (who ends of being the Demon responsible) essentially molesting one of the college girls, a great stylistic sequence, to the abundance of fun, cheesy monsters. Really enjoyed this one, and the perfect type of film to watch with a group of people and some beers... 8.25/10 Honey is the story of Yusuf, an incredibly shy young boy and the intimate relationship he shares with his father, Yakup. An only child, Yusuf is a loner in school and struggles to form relationships with his classmates. HIs solace lies with his father, a honey farmer, who collects from the bees in the forest. One day his father must travel to the far reaches ofthe forest, because of a bee shortage, but when he doesn't return, Yusuf begins to fear the worst. 'Bal' is a beautifully tender film that perfectly captures the perspective of it's young, main protagonist. The story is incredibly simple, and through this simplicity the film uses striking cinematography and small moments to capture the loneliness this young boy feels int he absence of his father. One scene of beauty occurs when Yusuf whispers a dream he had into his father's ear, so they alone can share this secret between themselves. Some would call this a slowly paced film, and it is, but I would call it a very naturalistic look into life and the nature of the universe. Before his father goes missing, the film has a very minimal sense of dread that is set up through small close encounters, almost if Kaplanoglu is making a statement about fate and the nature of our world, slowly hinting at what is to come. Kaplanoglu's film is very minimalistc and lets "nature do the talking" in this story of a boy, and family's fate. Oh, and per usual for Kaplangolu, the ending is insanely poignant. 9/10 Threads opens with voice over explaining how everything in an urban society connects with one and other and the notion that everyone's lives are woven together. While this is important for the strength of society, these connections also make it vulnerable. Threads is a downright terrifying film about a nuclear holocaust and the effects it has on the small working class town of Sheffield, England as well as the civilization as a whole. The film begins before the holocaust, introducing us to the various characters of the town, letting the viewer come familiar with these characters and care for them. This is beneficial to the film, as when the Holocaust comes, it makes things even more frightening and poignant. The film is shot in a documentary style, and as far as technical film-making goes, it's pretty much perfect. Mick Jackson uses sound design, compositions, etc. to great affect-putting the viewer right into this terrifying landscape. There are images in this film that will probably never leave my mind and it's absolutely one of the best/scariest films I have ever seen. What makes this film so incredible is it's attention to detail-the lack of food supplies, lack of communication, radiation concerns, lack of daylight, etc. are all shown in a harrowing realistic portrait. SCARY. Some may argue that the film takes too long to get to the actually nuclear attack, but I disagree, as it's essential in building up the emotion to the story, so that these lives which are destroyed become all the more vivid and real. This would make a great companion piece to Peter Watkins' War Game, if you wan't to scare the shit outta yourselves. 9.5/10 James Stewart stars as Rip Smith, a pollster who finds a small town that happens to have the exact make-up of the nation, but on a much smaller scale. The ethnic types, occupations, political beliefs, and personal opinions all perfectly mimic the thought's of the nation, and Rip moves to the town, undercover as an insurance salesman, with the intention of exploiting this discover for all it's worth. Magic Town is rather weird film for William A. Wellman to make, as if he was trying to prove a point that he too could make a film that is Capra-esque in it's depiction of small town charm and sensibilities. What's interesting about this film though, The film unfolds around a romance that begins between Rip and Mary, a local newspaper editor. The theme of a rather selfish man learning the error his ways through the virtues of a small town is indeed prevalent but what's interesting about the film is Mary's viewpoint. Through Mary, Wellman somewhat challenges the notions of a small town, the notion that a town needs to grow and adapt, desperately needing new industry to thrive and grow while still crediting the small town morals and ethics. The romantic fallout and consummate reunion also felt far more genuine, a sequence where Mary declares that their relationship has destroyed a town, was a great scene and resonant. These things are a great addition to the rather basic premise that elevates the film beyond it's counterparts, though it's still a lesser Wellman. There are a few great Wellman-esque scenes though-the way he shoots the sequence where Mary discovers the truth about Rip's intentions are shot in a very dark, shadowy, moody setting. 8/10 The one thing that is very clear in Toshio Matsumoto's work is his fascination with the darker side of humanity-subconscious feelings and emotions pertaining to one's psyche and how it relates to family dynamics. Funeral Parade of Roses is as great as I remember in it's unabashed look into the gay/transsexual counterculture of Japan during the 1960s. It's essentially a take on Oedipus Rex about a love triangle between two transvestites (Eddie and Leda), and Gonda, the bar manager which they both desire. There are so many fascination aspects of the film, from the commentary on the "faces" or "masks" that one has to where in society to such an honest, the in-depth look into the past and present emotions of the characters, or just the general cynical nature towards the world and society. Eddie's character is without a doubt the emotional backbone of the film, as I found the sequences documented his/her past childhood to be particularly haunting and affective. The film's narrative is loose, often jumping around in the story, revealing thing's in a way that can only be described as disorienting, though this is clearly with purpose. Lots of Avante-Garde techniques are used-jump cuts, flashbacks, cartoon type bubbles, repeated imagery, sped-up footage and lots of juxtaposition create a unique, frightening and endlessly fascinating experience. In fact, the sped-up footage is what inspired the sex scene in Kubrick's A Clockwork Orange, so I've been told. I've seen this one three times now, and every time, I seem to come out with some new observation or imagery that gives me more perspective into Matsumoto's vision. This is such a tragic film about Eddie's lack of identity and inability to find solace in a cruel world, with only Gonda, as a the stabilizing force in her life. Although, Shura is probably still my favorite of his films, mainly cause of the streamlined nastiness of it all, I completely understand why this one is considered his masterpiece. 9.5/10 The Honeymoon Killers is the type of film that has quite the reputation for being disturbing, and while it is, it's definitely dated in that assertion. It's about Martha, an overweight, lonely nurse who meets Ray through a newspaper column. Desperate for affection, Martha falls for Ray and agrees to let Ray continue to romance and con other woman out of money, as long as she can take along, pretending to be his sister. The character of Martha is the most interesting and compelling character in the film. As the couple goes on these Con's, her insecurities and fear of losing her man come to the surface in a very compelling and genuine way. I really found myself questioning Ray's intentions, as it relates to Martha, throughout the film and a lot of that could be contributed to Shirly Stoler's performance. Shirly Stoler really does a lot for this character in her portrayal, making Martha by far the most interesting and compelling character, even though she's essentially a psychopath. My biggest problem with the film is there was actually very little killing or murder until near the end of the film with not much happening through the meat of the story. It's all very repetitive: they meet a new woman to con, Martha get's jealous and her insecurities shine through as Ray gets closer to the woman he is conning, REPEAT. That being said, the film does have some great sequences-the lake sequence, or the final 15 minutes or so, which are great, but I found it to drag in the middle too much to give it a great rating. 7/10 Dusan Makavejev's third feature is a interesting, weird, yet somewhat captivating collage which is essentially a documentary about the first Serbian talkie, which is a rather laughable melodrama. Makavejev uses footage from the actual film, interviews with the people behind the film, and stock footage to tell this bizarre tale. It's essentially a probing study of juxtaposition, as he creates a film as much about the state of Yugoslavia's past and present, as it is about the first Serbian talkie and it's stars. It's an interesting piece fo'sho, but It just didn't grab my attention the way I was hoping it would. That is, outside the sequences revolving around the star of the film, Acrobat Aleksic. These segments about this man are incredibly entertaining. Aleksic has such a presence and he's such a bizarrely captivating individual that you can't help but have a smile on your face whenever he is on screen. All in all it's a rather typical Makavejev type film in all it's strange glory. 7/10 |
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June 2023
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