Seemingly an important man, Monsieur Oscar enters a stretch-limousine off to start another day in his profession. From the early hours of the morning til late at night, we follow Oscar, a strange character, who seems to transform from one life to the next. Oscar's profession seems to be some strange type of performance art, as his various "appointments" resemble roles an actor would typically play. Leos Carax's Holy Motors is a welcome return from a great filmmaker whose absence was sorely missed in cinema. Holy Motors is by far Carax's most cryptic film, going beyond mere plot descriptions it's a film which surely will have many different opinions about its true intentions. Holy Motors is essentially a playground for Denis Lavant, whose free to run through this unpredictable narrative giving a staggeringly, brave performance. The characters which Monsieur Oscar becomes cover the gamut of feelings and emotions like desperation, pain, joy and sadness, with Carax seeming to suggest that our lives are hodgepodge of all these emotions. The line between Monsieur Oscar's actually life and his performances are almost non-existent, with the distinction between art and life being blurred. Carax seems to take this commentary even further, ultimately suggesting that the only difference between the two lies in the viewer. The opening of the film seems to somewhat suggest this concept as we witness a crowded movie theater in which the entire audience lies asleep - the silent film playing out with no one to see. Without the audience any type of art, cinema or not, falls by the wayside with Carax seemingly finding the beauty and despair in Monsieur Oscar, who seems to be the living example of this ideal. There are so many interesting moments in Carax' Holy Motors, with scenes of extreme beauty, both visually and emotionally, and while I cannot say for sure if my interpretation is even accurate to what Carax was trying to say, one could make the argument that simply makes the film even better. 8.75/10
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A federal agent (Robert Taylor) is sent to Central America in pursuit of stolen aircraft engines being sold to highest bidder. While there he begins to fall for the wife (Ava Gardner) of one of the men involved in the operation. Robert Z. Leonard's The Bribe is a noir style crime thriller which is drenched in the the mysticism of Central American culture. The Bribe is uniquely structured, really throwing the viewer right into the middle of the story. Instead of opting to slowly set up the story, The Bribe begins about two-thirds into the adventures of the federal agent getting us up to speed via his narration. This is very much the story of Robert Taylor's character and through this narration we gain lots of detailed insight into the various characters and situations he faces. We are given a great sense of this "trust no one"mentality he must have as he struggles to find the men responsible for the stolen aircraft parts, while also dealing with the internal desire he has to be with Elizabeth, the wife of the head gangster involved. The plot and style of The Bribe are adequate but nothing incredibly groundbreaking relying on some clever twists and turns in the narrative to keep things interesting. The Bribe's biggest attribute by far is having the high caliber actors of Charles Laughton and Vincent Price as your principal baddies, spewing venous dialogue a mile a minute which helps give the film a lot more energy and excitement. The Bribe closes out strong with a beautifully executed shootout in a dark apartment which uses fireworks in the background to beautifully elevate the chaos and tension of the scene. While Robert Z. Leonard's The Bribe may not be anything groundbreaking, it's a well executed crime flick that is elevated by the likes of Charles Laughton and Vincent Price. 8/10 Whip Whitaker is a divorced father, whose alcoholic tendencies have left him completely alone. One faithful day the airplane which Whip is piloting suffers a catastrophic equipment malfunction leaving the plane in a tailspin. With some quick thinking, Whip is able to save the flight from crashing, saving the lives of nearly 100 people. Whip is regarded as a hero but an investigation into the malfunctions reveals Whip's extreme alcoholism which could leave to life in prision. Robert Zemeckis' Flight is very much a film about alcoholism and the denial that so commonly goes with it. The films depiction of alcoholism is sound, showing just how difficult it is for an alcoholic to put down the bottle. Denzel Washington gives his best performance in what seem like an eternity as Whip Whitaker, balancing his various emotions and addiction issues. While its portrait of alcoholism feels geniune, Flight falters because of a few questionable story decisions and lack of subtlety when it comes to its themes of denial and the notion that everything happens for a reason. Directly after the plane crash, Whip looks like he is going to give up drinking, refusing to partake with his buddy. All of that changes after learning of the toxicology report. The film paints it as if Whip was gonna beat it if not for this discovery, yet goes on the rest of the film to show how hard it is to actually beat alcoholism. Sure the sequence adds a great moment of drama and tension but this early moment of clarity is simply counter-intuitive to the message of the film. I also had issue with the climatic sequence in which Whip has his moment of change revolving around his inability to lie about his ex-lover, essentially shaming her name. The film never shows this relationship he shares as anything more than sexual so I had trouble buying that his love for this woman was enough to instill change. Flight is a solid tale of alcoholism that fails to be great because of some questionable story decisions and character motivations that were ultimately unnecessary to the story. 6/10 Everyone's favorite alcoholic, chauvanist, killing machine is back in Sam Mendes' Skyfall. The film begins with James Bond using his "deceased" MI6 status to take a much needed vacation. That is until MI6 itself comes under attack by a sadistic ex-spy who will stop at nothing to get his revenge on the agency which he feels portrayed him, specifically M herself. Skyfall delivers on the typical reasons one would go to see a bond film - lots of action and adventure with a unique ability to transport the viewer to gorgeous locations around the world which only the James Bond series could provide. Where Skyfall stands out is it's thematic intentions which really owe a ton to Christopher Nolan's Dark Knight Saga. Much like Nolan's Bruce Wayne, in Skyfall Bond's life is quite expendable in the grand scheme of things, showing how some things, most notably country, are far more important than one man's individual life. Bond is not a machine, but a man whose physical and mental abuse over the years is beginning to take its toll on him. The Villian in Skyfall, played in a fun, hammy way by Javier Bardam, is incredibly similar to Batman's Joker, with even a large section of the second act being a little too close to Nolan's Dark Knight for my taste. That all being said, no idea is really original anymore and Mendes does just enough to keep things unique and compelling. The plot of the film is adequate but it's nothing you haven't seen before with the real treat being the themes which Mendes explores. Mendes loves the idea that Bond is simply another grunt working for the greater cause and he explores this in multiple way throughout the film. My favorite scene in the film by far is the assassination scene in Shangai. Mendes films the sequence beautifully, showing Bond and his adversary only in silhouette as they brutally fight to the death. To the average viewer this is merely an "artful" decision that makes it hard to tell who is who but in reality Mendes is illustrating his theme of how these two men at their core are not different, both being merely pawns to their superiors who of which are involved in a much bigger game. I was also impressed with how Mendes handled the action sequences using a good balance of chaotic camera work and establishing shots to make the viewer feel like they are in the action without sacrificing ones ability to follow it. While Casino Royale reintroduced Bond as a much more grounded character, Skyfall pushes this concept even farther, showing the humanity in James Bond while simultaneously understanding that in the end he is merely just another soldier for his country. Skyfall is definitely the best Daniel Craig bond and while it owes a lot to Nolan's batman series, it delivers a fun, smart brand of escapism. 7.5/10 Barbara, a Berlin doctor has been banished to rural East Germany by the GDR. One her arrival in the country side, she starts a job at the youth ward of a rural clinic. While there she keeps to herself, clearly plotting her escape with her husband through secret meetings in the desolate woods and shady hotels. Christian Petzold's Barbara is a poetic story about one woman's struggle between desire, survival and morality. Early on the film does a great job at capturing the claustrophobia of the small town life in which Barbara can trust no one. I particularly loved the color palette which the film uses during the night time sequences, that dark orange lighting really aids in intensifying the tension which Barbara most certainty fears as awoman whose constantly in suspense. For the most part the audience is kept in the dark about Barbara's past and exact intentions, only witnessing her late night coastal bike rides, how she hides money in the secluded rocks and even her rendezvous with her husband, but the her exact plans are never explained til the end. Barbara is very quiet and reserved around her co-workers and the people of the town, seemingly avoiding all attempts at making friends with her colleagues as if afraid that anyone could be a spy of the GDR. The one exception is Andre, the head physician of the clinic, who is very warm and kind towards Barbara. At first pushing him away like everyone else, Barbara soon enough realizes that he might be the key to her ultimate salvation. This fact is magnified by the interesting relationship dynamic between Barbara and her husband. The filmmakers handle it very subtlety, suggesting that her husband simply views Barbara as nothing more than an ornament or possession as opposed to an equal. As the film progresses, with Barbara getting closer and closer to her escape, we see the type of compassionate person she is through her relationship with her young patients. Particularly a young girl, Stella, whose pregnancy leads her to conflict with the GDR, something which Barbara knows far too well. These young patients and Andre are really the driving force of the story, inflicting change in Barbara as she realizes some things are more important than escaping the small rural town and the GDR. Christian Petzold's Barbara is not a film that fits solely into a specific genre. It's a film that has romance, drama and thriller elements ultimately leading to a searing portrait of one woman's struggle and ultimate sacrifice. 8.25/10 Ava DuVernay's Middle of Nowhere opens at a prison where Rudy is visiting her incarcerated husband, Derek. She tells Derek that she has decided to leave med school, making the ultimate sacrifice, so she can be closer to Derek while he serves his time. While so many films out there look at the lives of people incarcerated in prison, Ava DuVernay's Middle of Nowhere turns its attention towards the loved ones outside the prison walls. Middle of Nowhere is a piercing portrait showing how Rudy's struggle outside of the walls is not much different than her husbands inside. The world doesn't stand still when prison happens to a loved one and we see the tireless sacrifices Rudy makes in attempting to keep their household in order and ultimately help her husband to get out of prison. A character study through and through, Middle of Nowhere does a nice job at getting into the head space of Rudy, showing how the memories of her husband are what keeps her going. We see the mental and physical wear and tear this struggle has on Rudy, the countless hours of working, the poverty and even the blame which she puts on herself for her husband's incarceration. As incidences happen, including Ruby learning about her husbands infidelity, the film begins to beg the question as to who in the relationship is really imprisoned. Rudy is closed off in her own life because of her husband's situation and one begins to simply question whether she is wasting her time on something that may never occur, at least not in a timely matter. No character in Middle of Nowhere is villainized with the film realizing that things are rarely black and white, instead showing the gray areas which exist in the tough decisions of life. With all the positives about the film I must say I was a bit surprised to learn that this won the directing award at Sundance, as I do feel the writing and performances were more integral to the films ultimate success. One decision that really bothered me was how Rudy owned an IPhone 4s, which made little sense considering her financial situation. Obviously this isn't a huge deal in the context of the film but these type of things really bother me cause I don't understand how they could possible be overlooked. For me Middle of Nowhere is ultimately a film about letting go of what you can't control and realizing that if something is meant to be it will happen with Love unwilling to be denied. 8.25/10 What a wonderfully inventive, wild comedy H.C. Potter's Hellzapoppin is. From the opening sequence, which is one of the wildest, insane openings of any old Hollywood film I can think, excluding 'Crime Without Passion', I knew I was in for a real treat. The film revolves around Olsen and Chic, the creators of the ultra-successful Broadway play, Hellzapoppin, who have been brought to Hollywood to make the film adaptation. Of course, the studio insists on changing everything, and madness ensues. The plot really doesn't matter that much, as the two men venture into the actual movie and cause all sorts of chaos. That being said, this is without a doubt the best "movie in a movie" type of film that I have ever seen. Its absolutely bursting at the seems with gags and it's anarchic style mixed with surrealism is just so much fun. What's that about breaking the fourth wall? Well, this film never even establishes it to begin with. Obviously there is a slight commentary on the Studios in this, but really it's just a chaotic slapstick film which I imagine is just as fun now as it was on it's initially release. If I had to criticize anything about this film it would be that it's so much fun to the point where I found the musical numbers were getting in the way of the chaos and energy. My favorite segments had to be the part where the two men accidentally find themselves in the middle of a Western, or the part where they tell the kid in the audience who smells to go home. Hellzpoppin has got to be one of the most fun and self-aware experiences cinema has ever produced. 9.5/10 Antonio Campos' follow-up to his debut feature, Afterschool, tells the story of Simon, a 20-something man who has just graduated from college with a degree in Neuroscience. Simon has just gotten out of a long-term relationship which has left him emotionally devastated. In an attempt to find solace he goes to Paris for a quasi-vacation where he meets and begins to form a relationship with a prostitute. Antonio Campos' Simon Killer is an intricate, subtle character study of a man with emotional instability and mental issues. When we are first introduced to Simon he has a certain tenderness too him, and we the viewer really feel for this character who seems to be in emotionally pain. We witness him form this relationship with the prostitute, which is sweet and honest too, but throughout all of this, there is this brooding energy which creates this sense of unease about Simon. I really liked how for a large amount of its running time Simon Killer keeps the viewer in the dark as to what Simon's intentions are, with only small subtle clues as to the possibilities of his deception. Campos uses visual cues such as this intense flickering effect and color shifting transitions to visualize this instability in Simon and as the film progresses, the viewer slowly begins to realize how dangerous and manipulative Simon can be. Much like Campos' predecessor, Afterschool, there is heavy use of long takes, static framing and slow camera movements which create this very unique sorta-visual poetry, with some of the static shots lingering as if Campos is trying to draw every little bit of emotion out of the visuals. Simon Killer is a wonderfully made character study about an emotionally unstable character. While there is no question that Simon is a deceptive, dangerous character the film never fully demonizes Simon, rather showing his sickness in a tragic way that makes for an emotionally and intellectual experience. 8.5/10 Peter and Lorna are lovers who also work together as a documentary filmmaking team. For their latest film, they infiltrate a mysterious cult led by an enigmatic young woman Maggie, who claims to be from the future. What clearly started as a mission to expose Maggie as a fraud becomes to come into question, as Peter and Lorna go deeper and deeper into Maggie's cult. Zal Batmanglj's Sound of My Voice is a drama examining the cult construct and how slowly the characters ideals become muddied as they slip deeper and deeper into the abyss. Sound of my Voice spends the time to give the viewer a background into both Peter and Lorna, showing how their past has shaped the person they have become. While brief, this decision gives the viewer insight into the susceptibility of both Peter and Lorna, setting up this complex struggle with fact vs. fiction. As the two spend more time in this cult, we see how it slowly consumes them, eventually even turning them against each other. One of the stronger aspects is the atmosphere which the film is able to create. It's mysterious, dangerous and sometimes even euphoric, constantly changing as the characters feelings and emotions towards Maggie's cult do. This is used to nice affect, constantly making the viewer, much like the two protagonists, unsure of where the truth lies. Sound of My Voice doesn't provide any concrete answers or conclusions to its story, rather leaving things in a confusing and puzzling fashion that is bound to drive some viewers crazy. For me the ending is perfect for this cryptic little indie sci-fi endeavor. 7.5/10 Danny (Cary Grant) is a detective who is currently investigating a jewelry theft. His girlfriend, Eve (Joan Bennett), is a sassy women who works as a manicurist but recently has started a career as a investigative reporter. The two of them work together, from there respective professions, to solve what turns out to be a criminal ring of jewelery thiefs who are also responsible for the murder of a baby in central park. Big Brown Eyes is a very unique film in that its a zany witty comedy with a few quite dark, thrilling moments. I mean, what type of comedy murders a baby? The dialogue is rather unique in that the characters essentially are never direct towards one and other about their intentions, at least when compared to most other films of the time period. Cary Grant and Joan Bennet are just so full of energy spewing dialogue that feels very natural because of thier respective performances. Both these actors have so much charisma, particularly in this movie, that you cant help but love them. Aesthetically, Big Brown Eyes is rather standard but it does have some fun stylistic segments. For example, there are three or so segments in which we are shown various characters at slanted camera angles in quick-cut rapid succession as they gossip in a beauty parlor about the current events which envelope the film. It's just one stylistic moment which personofies just how playful, hectic and fun this film is. Big Brown Eyes is a film that doesn't get much recognition but given the two starts and very unique tone, it's definitely worth your time. 8.25/10 |
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June 2023
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