Christine and Gilles are rebellious, young lovers who have grown tried of their families and the monotony of their every day lives. When Christine is caught shoplifting, her father sends her away to a boarding school for mentally troubled teens, separating the two young lovers. Though, this proves to be only a temporary problem, as Christine plans to escape and runaway with Gilles, who she views as the love of her life. Written and directed by Olivier Assayas, Cold Water is a unique take on a beautiful love story set in a rather bleak cinematic universe of troubled youths. Our two main protagonists aren't abused or neglected by their parents, fitting none of the typical cliches of the "troubled youth" genre yet the youth nihilism which Olivier Assayas is going for is very prevalent. The film is essentially a deconstruction of troubled youth, feeling very bleak at times, with this romance being the only light in the film, though even this relationship feels doomed. It's clear that the two love each other very much, but it's clear that they don't have the experience or knowledge-base necessary to support themselves, even if they believe they do. The ending is brilliant and perfectly captures the youthful exuberance and naivety, though in a subtle way. "Cold Water' is a great companion film to Bresson's masterful "The Devil, Probably" in foreboding unease, though while I found Cold Water to be more emotionally affecting, the films social meaning isn't nearly as powerful or clearly defined as Bresson's film. 8.25/10
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Luc Moullet's The Smugglers is a truly odd experience that really isn't like anything else I have seen before. The plot is pretty much irrelevant, but it involves a man and woman who are smugglers during wartime. After the war ends the two of them meet a third woman, and well, lets just say they go and play in the countryside. The most interesting aspect of Luc Moullet's film is how rebellious the director is towards pretty much every type of cinema convention. Moullet pretty much taunts the viewer, giving them no real idea of where this film is heading, sometimes hinting at one thing, then opting to go in a completely different direction. One could describe the film as an absurdest comedy, as it clearly has a playful tone, think somewhere in between Godard and Wes Anderson. The characters break the fourth wall, scenes are replayed countless times- fast-forwarding and rewinding, as Moullet plays with the viewers perceptions to no end. To be completely honest, I'm not particularly sure what the film is about but Moullet's characters are given the chance to escape the shackles of daily life, yet they don't do anything profound, rather the opposite. In a way it could be Mallet critiquing other films which suggest people would make more of their existence if they broke out of the mold. Definitely not a film for everyone, though I am definitely intrigued to explore more of his work. 7.25/10 Ben and Chon are best friends, and entrepreneurs who run a lucrative, homegrown business of marajuana development. The two best friends couldn't be any more different in that Ben is a peaceful, charitable individual while Chon is a former Navy Seal who isn't afraid to dish out punishment when necessary. The one thing they do have in common is Ophelia, who they both love very much. Life couldn't be much better for the three of them but when the two friends turn down a Mexican Drug Cartel's invitation of partnership, the cartel kidnaps Ophelia as a persuation tactic. Oliver Stone's Savages lives up to its title in delivering a violent, tense film that makes a strong case for the legalization of drugs, particularly Marajuana in this case, in the United States. This is easily Stone's best film in years as he finds a great balance between style and substance, where the style adds a very kinetic, fast-paced tone to the film while never feeling overbearing. The Ben and Chon characters have a great dicotomy between them, but this really is Ben's film more than anyone elses. The audience sees Ben's peaceful, buddist character dragged in the muck of the Cartel, forced to lower himself to their standards- This is just another day in the life for Chon. Stone's film shows how things go from bad to worse when no rules or regulations are in tact as we constantly see greed fueled violence and double crosses which just seem to escalate in grisly nature as the film progresses. The entire cast does a great job but Benecio Del Toro really steals the show as Lado, the main enforcer of the drug cartel. Savages is an intense, fun ride that has a nice little social commentary on the "drug war" as well. 7/10 The story of Peter Parker, an outcast high school student who was abandoned by his parents as a young boy, alternatively being raised by his aunt and uncle. Of course Peter becomes Spiderman through an encounter with a radio-active spider, and well, you probably already know the story. Marc Webb's version of the origin story of Spider-man is a much more grounded film, that feels more like a romantic drama than a typical superhero movies. This version of the film is just as, if not more interested, in Parker as a man whose tortured past constantly haunts his future. It's the origin story of an teenager whose angst and inner turmoil must be overcome if he is to ever become something greater. It makes a lot of sense that Webb was selected for this film, as the relationship which unfolds between Gwen and Parker is handled with care, really being the soul of the film. The action sequences are solid, though they could definitely have been better but for the most part this is a film that feels simply like a good story, more so than a "comic-book movie". The film does lose some of it's luster in a third act which feels a bit rushed, and there is a particular sequence towards the end of the film which is headache inducing in it's stupidity and sentimentality that is so unnecessary and really makes no sense in the story. From an actor standpoint, there can't be any complaints as pretty much every actor in this film is superior to actors from the original trilogy. Overall, this is a solid summer blockbuster that delivers on far more than it doesnt. 6.75/10 Nagisa Oshima's Merry Christmas, Mr. Lawrence centers around a group of British soldiers whom are imprisoned in Japanese POW camp. The film is a very interesting piece of film-making in which we see the daily lives of these british soldiers and how they interact with their Japanese counterparts, really establishing the cultural differences which exist between these two nations of people towards the end of the war. Some of these segments are incredibly well constructed, using Oshima's great eye for detail and unique viewpoint to give great insight into not only the differences, but the the forgiveness and understanding which comes to fruition between these two cultures. As expected by any Oshima feature, the visual design is universally exceptional, with some great sequences. The problem with Merry Christmas, Mr. Lawrence is simply that Oshima was trying to say too much, leading to a film that comes off as convoluted when expressing its various themes. A flawed work that contains some truly memorable sequences, Merry Christmas, Mr. Lawrence is a lesser work by Oshima, but worth a look if simply for the few sequences which are beautifully constructed and emotionally resonant. 6.5/10 Mike (Channing Tatum) the king of the stripping circuit takes Adam (Alex Pettyfer) under his wing, teaching him the fine art of stripping, partying and having fun. Mike's dream involves getting out of the stripping game and building custom furniture, but will he ever be able to escape the lifestyle around him? Steven Soderbergh should be fucking ashamed of himself cause "Magic Mike" is literally laughably horrible in every way. The story intends for one to care for Mike's character as he witnesses Adam's character fall for the easy, yet fruitless lifestyle, yet you feel nothing for these characters. The relationship between Mike and Brooke, his love interest in the film, is incredibly shallow as is pretty much every dramatic moment of this movie. None of the emotional beats in this movie make much sense, often coming out of nowhere. Matthew McConaughey's Dallas Character and Mike butt heads at one point with no build up whatsoever making the whole thing laughable. The same can be said between Mike and Brooke, whose relationship is meant to be the lynch-pin of the story, yet they have absolutely no chemistry at all. Pretty much every dramatic moment of this film carries no weight cause none of the relationships or dramatic situations are well defined. The main crux of the film, Mike's indecision of his life style is soooo out of left field and towards the end of the film that it just felt laughable, shallowly trying to make the film a cautionary tale. Alex Pettyfer's character serving as the driving catalyst in the story is one note and a terrible performance, as is Cody Horn. I apologize that this review is so scatter-brained and pretty much just ranting but this is putrid film-making. Soderbergh should be ashamed of himself. 4/10 Becker, an eccentric, yet aggressive marketing executive from Atlanta, Georgia, is sent to Coca-Cola's subsidiary in Australia to help increase market penetration and overall awareness of their soda products. While conducting his research, Becker discovers a valley community that has zero market penetration, learning that the town and it's soda industry is dominated by an older gentleman who has been making soda in his factory for decades. The Coca-Cola kid is an interesting, oddball comedic film in which Dusan Makavejev tackles American Imperialism in a comedic, almost whimsical tone. It's very comical and fun to see Becker and this old man go toe-to-toe over their business, which can be described as incredibly civil, though it's clear that they both really despise each other. Considering this is a Makavejev film, the style is quite subdued, though there are definitely instances where he uses juxtaposition and some poignant visual compositions to draw ones attention to a detail, or illustrate a point in the film visually. Eric Roberts is straight up brilliant as this head-strong exec, perfectly balancing his cocky demeanor with his more eccentric qualities. At first I wasn't sure how I felt about the romantic love interest part of the narrative, but as the film progresses, it's clear that Makavejev is simply using this as another device to help define his Socio-Economical allegory. More clever and amusing than laugh-out-loud funny, the Coca-Cola Kid is an odd, fun and interesting film which few directors outside of Dusan Makavejev could have pulled off. 8.25/10 Ditching school in favor of taking a day off, two teenagers break into an old abandoned mental hospital to down some beers and raise a little hell. While exploring the boys make a horrifying discovery which will test their morals and change everything about their relationship. Deadgirl brings a rather interesting, unique spin on the undead/zombie genre in which the discovery of a chained zombie-girl by our two main characters, leads to a clever analysis of teenage life. In a way, Deadgirl is kinda like the male version of 'Ginger Snaps' exploring the teenage male psyche, sexual urges, and social pressures derived from the need to get laid or have sex to prove oneself. While respecting any film that brings something new to a tired genre, Deadgirl is ultimately only so-so due to a pretty horrendous script that is blunt, clunky and even laughable at times in its exploration of interesting themes. Essentially it's a film that I admire more for the concept than the actual execution. The performances are pretty weak all around, outside of Noah Segan who towards the end, gives a fun, twisted performance. This is a film that aggressively wants to force the viewer into questions of morality, and while it does bring some good things to the table, it doesn't ultimately succeed. There is no doubt some fun twisted ideas in here, but given the subject matter, films like 'The Woman' or 'Ginger Snaps' are far superior. 6/10 Set in the near-future, Seeking a Friend for the End of the World is about how people would deal with an on-coming apocalypse, knowing that the world is going to end for certain in a few weeks. Dodge (Steve Carell) reacts rather hopelessly devoid of feeling, carrying on his day like any other, full of regret. A chance encounter with Penny (Keira Knightley) a neighbor in his apartment complex, sends the two of them on a search for Dodge's first true love. Seeking A Friend For the End of the World is an odd dramedy, that attempts to balance a somber tone with some sweetness and laughs. The thing that surprised me more than anything is how much the film succeeds solely because of the budding romance and sweet relationship which slowly develops between Dodge and Penny. Going in, I thought these actors were odd choices but together with a well-written script, their story is told with a surprising tenderness even if the film's tone is a little jarring at times. The film plays more like a comedy, and it has some pretty hysterical bits, but every once and awhile there is a surprisingly intense dramatic moment that punches the viewer in the gut, reminding them that this is a story about the end of the world. Touching on a lot of interesting emotions and concepts about the end of the world, the film just isn't quite as meditative as I was hoping for, never really getting too deep. The story gets a little too wrapped up in plot structure, a sequence involving Dodge's father for example, felt completely unnecessary and rushed, but the friendship feels right, and the ending was well done. 7/10 John Bennett (Mark Wahlberg) lives with his girlfriend Lori, who he is very much in love with. The problem is that Lori has grown tired of John's friend Ted, who is wildly irresponsible and a bad example for John. Ted happens to be a teddy bear who is very much alive, the result of a childhood wish. With John facing pressure from the love of his life, he is forced to mature and attempt to grow up, pushing Ted in the same direction. Seth MacFarlane's feature debut 'Ted' is exactly what one would expect from the creator of Family guy. The jokes are pretty similar in every way, being incredibly predictable at times, dull at others, and just striking out in the laughs department far more than when it succeeds. The film would definitely fit under the popular saying: 'The best parts were in the preview". The narrative of the story is simple and fine but the film was clearly trying to be dramatic at certain times, almost always falling very flat. I realize you don't see this type of film for the drama sections but everything about this film, including the relationship between Ted and John themselves felt manufactured more times than not. MacFarlane also suffer's from Judd Apatow's problem of having the film completely overstay it's welcome with a running time of almost 2 hours. I'm sorry, this film should have never been over 90 minutes. To be clear, I think Family Guy is one of the worst comedic shows on television in recent years, if you like that show there is no reason you shouldn't like this movie. Personally, I was just hoping for something more comical and raunchy than what was presented. 5/10 |
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June 2023
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