It's more than worth it to see this movie with its just bearable plot: the acting, both in the prequel and the sequel parts is deliciously sweet, vibrant and sometimes emotional; the Abba renditions are so fresh (special kudos to Amanda Seyfried, I loved 'I've been waiting for you', and 'One of Us' (Dominic Cooper is a Super Trouper). Then, of course, Fernando, (only Cher is allowed to render that next to Frida), but for me the real surprise was the lovely arrangements (like Chiquitita, Hasta Manana and even Hole in Your Soul). All songs are featured very lovingly. I'm just glad that I was warned about the biggest spoiler, otherwise watching the film would have been a real bummer. Won't tell, just let me say that Meryl in My Love, My Life and Super Trouper is Abba-esque and a pity that the Day Before You Came is only on the album (wow to all who have a very different reading of its lyrics). Now I'll just swoon at the thought of the 'boys' and the 'ladies' publishing their new songs...
Reviews
13 Reviews
Manifesto
(III) (2015)
Life is an artwork, an artwork is life
8 June 2017
Amazing cinematic experience guaranteed! Saw Manifesto yesterday as part of the Holland Festival cultural event. This is now a movie. I saw it as an installation of screens with short scenes and words spoken, based almost exclusively on famous and lesser known art scene manifestos. It could have been pretentious, but, director Julian Rosefeldt and the amazing Cate Blanchett turned this work into a flowing movie with connecting dots. In the installation there is some synchronicity in the screens, in that the 12/13 characters sing part of their text simultaneously. You may actually figure out some of the background surrounding the manifestos (such as Dadaism,Dogma). It was joyful and intense experience. One thing is sure, Cate Blanchett is the most prolific,daring, energetic, chameleon, dedicated, fun actor around.
The Iron Lady
(2011)
This movie deserves more credit
15 January 2012
Let me start by saying that: (i) I am a total Streeper; (ii) I love Abba and hated Lloyd's Mamma Mia, and (iii) I was not a Thatchterite, but found her rather amusing.
IMHO Lloyd and Morgan are being berated unfairly for script and direction choices made. This is a human rather than a heroic or political portrait of MT, and in this respect it does justice to her as a person; obviously the viewer knows it is fiction, as everyone knows her late husband Dennis appears to her throughout the movie. It is a smart choice and perspective. DT gives MT a human face and the humor that makes the Iron Lady very enjoyable. Her looking back at her life and the much criticized flashbacks (and flashes they are) enable the viewer to get a sense of what she did as a politician and how it affected her as a human. One objection was that, had she been a man, she would not have been portrayed in a fragile, contemplative state. Nonsense. It has nothing to do with her sex, rather with her being alive. Another objection was that they show her as a crazy old thing. Unfair. Of course Meryl Streep totally pulls this off and through the present loneliness and sometimes confusion, the strong and persistent iron lady remains clearly visible. The political angle - either she is not shown as the monster that the left says she was, or not as the hero the right says she was. Irrelevant. Whatever choices would have been made, this criticism would have befallen the makers. Indeed, we see her as very conservative, irreverent, tough, yet also - as I remember her too - as being consistent, clear and (almost) unbreakable. I was never bored or confused during the screening. I found the Dennis angle highly enjoyable and functional and thought the actress who portrayed the young Thatcher brilliant. This is a movie about reflection, about looking back. In that sense it is complete. And I understand the facts are correct (there was silly criticism about the opening scene, where MT elopes to purchase milk. The whole point was that she eloped from the security guards). Finally, Streep. I don't care that she deserved Academy Awards for here roles in Out of Africa, The Hours, Silkwood and Adaptation. And with all due respect to Viola Davis, who does a super job in the Help, and Michelle Williams, this performance is what we, the audience live for. It is amazing and it deserves to win. The only other performance that comes near is Tilda Swinton in We need to talk about Kevin. But I say with many more on this site: give the girl her third Oscar. Now.
IMHO Lloyd and Morgan are being berated unfairly for script and direction choices made. This is a human rather than a heroic or political portrait of MT, and in this respect it does justice to her as a person; obviously the viewer knows it is fiction, as everyone knows her late husband Dennis appears to her throughout the movie. It is a smart choice and perspective. DT gives MT a human face and the humor that makes the Iron Lady very enjoyable. Her looking back at her life and the much criticized flashbacks (and flashes they are) enable the viewer to get a sense of what she did as a politician and how it affected her as a human. One objection was that, had she been a man, she would not have been portrayed in a fragile, contemplative state. Nonsense. It has nothing to do with her sex, rather with her being alive. Another objection was that they show her as a crazy old thing. Unfair. Of course Meryl Streep totally pulls this off and through the present loneliness and sometimes confusion, the strong and persistent iron lady remains clearly visible. The political angle - either she is not shown as the monster that the left says she was, or not as the hero the right says she was. Irrelevant. Whatever choices would have been made, this criticism would have befallen the makers. Indeed, we see her as very conservative, irreverent, tough, yet also - as I remember her too - as being consistent, clear and (almost) unbreakable. I was never bored or confused during the screening. I found the Dennis angle highly enjoyable and functional and thought the actress who portrayed the young Thatcher brilliant. This is a movie about reflection, about looking back. In that sense it is complete. And I understand the facts are correct (there was silly criticism about the opening scene, where MT elopes to purchase milk. The whole point was that she eloped from the security guards). Finally, Streep. I don't care that she deserved Academy Awards for here roles in Out of Africa, The Hours, Silkwood and Adaptation. And with all due respect to Viola Davis, who does a super job in the Help, and Michelle Williams, this performance is what we, the audience live for. It is amazing and it deserves to win. The only other performance that comes near is Tilda Swinton in We need to talk about Kevin. But I say with many more on this site: give the girl her third Oscar. Now.
Potiche
(2010)
Potiche = exuberant pastiche
7 November 2010
Baccara & the Beegees in the soundtrack! Deneuve and Dépardieu doing the Night Fever dance! Squirrels! Hot truck drivers with sideburns! son Laurent who looks like Claude François, daughter Joelle with a Farrah Fawcett hairdo: this film gets a ten+ for the art direction and a 9 for the colourful cinematography.
As for Deneuve, in a role reminiscent of 8 Femmes' Gaby (2002 - she made 17 movies since!) is bubbly, sparkling and the stuff movie stars are made off - she sucks the viewer into the story.
Dépardieu, well is Dépardieu; Deneuve's husband played by Fabrice Luchini is the weak link in the story. He never comes off as a credible character. The kids' acting is alright, though they sometimes blend in with the wallpaper too much. It's just a bit too much visual and too little feeling.
Potiche is a Japanese flower pot and a merry housewife and Suzanne Pujol at first appears both. As the drama unfolds, there is more in Suzanne than we first thought. The story is like a soufflé, pleasant, fluffy and at risk to implode at times.
What perhaps should be a study about women's emancipation in the Seventies has more of a feel of a prequel to 'Dynasty a la Française', and a whiff of British comedy 'Are you being served?' thus making the viewer feel a bit iffy at times.
We saw this as the 5th movie at a film screening in the Netherlands, right after Des Hommes et dieux (of gods and men - the French Oscar submission); in that context the exuberant pastiche that made potiche was a welcome delicious dessert of our day of digesting the finest films. Go and see it!
As for Deneuve, in a role reminiscent of 8 Femmes' Gaby (2002 - she made 17 movies since!) is bubbly, sparkling and the stuff movie stars are made off - she sucks the viewer into the story.
Dépardieu, well is Dépardieu; Deneuve's husband played by Fabrice Luchini is the weak link in the story. He never comes off as a credible character. The kids' acting is alright, though they sometimes blend in with the wallpaper too much. It's just a bit too much visual and too little feeling.
Potiche is a Japanese flower pot and a merry housewife and Suzanne Pujol at first appears both. As the drama unfolds, there is more in Suzanne than we first thought. The story is like a soufflé, pleasant, fluffy and at risk to implode at times.
What perhaps should be a study about women's emancipation in the Seventies has more of a feel of a prequel to 'Dynasty a la Française', and a whiff of British comedy 'Are you being served?' thus making the viewer feel a bit iffy at times.
We saw this as the 5th movie at a film screening in the Netherlands, right after Des Hommes et dieux (of gods and men - the French Oscar submission); in that context the exuberant pastiche that made potiche was a welcome delicious dessert of our day of digesting the finest films. Go and see it!
Another Year
(2010)
Another Happy-go-lucky?
7 November 2010
Mike Leighs wonderfully ironic yet sweet look at life takes a little twist in this super ensemble movie which centers around Tom and Gerri and shows us these characters mainly as reflected by their friends and kin. What makes the twist is something written in a different review and which is apparently a Continental European viewpoint if I must believe Mr. Leigh. The minor flaw of this film is that Tom and Gerri hardly develop and if they do, it really is downwards as - when you leave the theatre - you are left with some questions as to whether they really are as warm and supportive as they appear prima facie. Why are all their friends alcoholic losers? And why are they so supportive, yet so aloof? We found a few scenes that show how Tom and Gerri feel about Mary (a shoe-in for any award because of the slightly over-the-top, nail biter performance by Lesley Manville). Their friends really make them feel better about themselves. Whatever may be of this Continental take, it is a tremendously enjoyable movie, as always.
Tirza
(2010)
Looking for Big Mama
22 October 2010
The movie of the disturbing novel by the innovative Dutch novelist Arnon Grunberg emphasizes the visualization of the descent of the main character into the dark depths of his pointless existence. It reminded me of the Coen Brothers' Job-type story in A Serious Man. However, it is to Rudolf van den Berg's credit that Tirza leaves a much deeper impression than A Serious Man, since it focuses more on the inner journey of its protagonist rather than how he responds to external impulses. Even though the build-up was classical -through flashbacks we learn more about Jorgen as the story unfolds- the editing and the reveals were surprising; a rare feat today in a time that most movies are cliché-ridden. Gijs Scholten van Asschat portrayed Jorgen beautifully; he alternates between being lost, resigned, hurt, empty and mad and conveys every emotion in a credible way. He wins the audience's sympathy almost to the point that his dealing with 9-year old child prostitute Kaisa appear to be based on pure intentions -although later revelations change this. Very pleased that Tirza is the Netherlands' submission for best foreign film this year and would be surprised if it does not make the short list.
How to make a movie about failing to make a movie
2 April 2010
Okay, this is an insiders' movie for the die-hards, but it works for everyone.
The director presumably got the idea when he got stuck with Clouzot's widow in an elevator - he even thanks the elevator for its technical failure in the credits.
What do we learn? Overall, we learn about flawed genius, about how unlimited budgets can send a brilliant director off-track. we learn about how far actors will go to satisfy their director's requirements.
What do we see? First, being born in 1964, the year the movie was filmed, I loved the stilted, post-industrial surroundings at the lake and the hotel were the film was supposed to be set. I loved the costumes, the modernity and became totally nostalgic (to going back to being a baby, I suppose). Romy... Does it add anything we haven't seen from her? Perhaps not, but it sure is nice and especially to see her with Serge Reggiani who only makes her beauty shine more.
Does it work as a documentary? Yes, very well, in my humble opinion. The director does not ask (irrelevant) questions, but he simply presents the material and gives us an insight that perhaps, there was more than Clouzot's seizure to halt filming. He uses beautiful background music to make-up for the missing soundtrack. The dialogues read by two really good actors: well, perhaps it was a bit contrite, but I was thinking all the time that one of the things that would have been quite mediocre had the film been completed, would have been that: the dialogues were flat, boring and superficial (but the actors read them well).
My friend asked me: how many movies are there about a movie. Lots, but yesterday evening I could not think of one. But this is more, this is a documentary about a movie about failing to make a movie.
Highly recommended.
The director presumably got the idea when he got stuck with Clouzot's widow in an elevator - he even thanks the elevator for its technical failure in the credits.
What do we learn? Overall, we learn about flawed genius, about how unlimited budgets can send a brilliant director off-track. we learn about how far actors will go to satisfy their director's requirements.
What do we see? First, being born in 1964, the year the movie was filmed, I loved the stilted, post-industrial surroundings at the lake and the hotel were the film was supposed to be set. I loved the costumes, the modernity and became totally nostalgic (to going back to being a baby, I suppose). Romy... Does it add anything we haven't seen from her? Perhaps not, but it sure is nice and especially to see her with Serge Reggiani who only makes her beauty shine more.
Does it work as a documentary? Yes, very well, in my humble opinion. The director does not ask (irrelevant) questions, but he simply presents the material and gives us an insight that perhaps, there was more than Clouzot's seizure to halt filming. He uses beautiful background music to make-up for the missing soundtrack. The dialogues read by two really good actors: well, perhaps it was a bit contrite, but I was thinking all the time that one of the things that would have been quite mediocre had the film been completed, would have been that: the dialogues were flat, boring and superficial (but the actors read them well).
My friend asked me: how many movies are there about a movie. Lots, but yesterday evening I could not think of one. But this is more, this is a documentary about a movie about failing to make a movie.
Highly recommended.
Winter in Wartime
(2008)
Very deserved short list mention for best foreign film
21 January 2010
Yesterday it was announced that War in Wintertime (no link given, the Dutch title Oorlogswinter is on the IMDb though), made the short list. Based on a seventies novel by a beloved politician temporarily turned author of children's' books, the director managed to adapt this to the screen in an amazingly effective way. Enough interesting turning points, good acting, superb cinematography and art direction made this a very pleasurable movie to watch. The Netherlands have a tradition of turning out second world war movies regularly (some good, some stupid). This one adds to classics such as Soldaat van Oranje, Het Meisje met het Rode Haar, Zwartboek and De Tweeling (all must sees) in that it provides a surprising insight into people with hidden agendas. At the end of the day, Oorlogswinter makes a thrilling boy's coming of age story. Well done and let's hope it makes the short list (though that other war movie from an earlier war, Das Weisse Band, is going to run off with the Academy Award).
Inglourious Basterds
(2009)
Inglorious Pulp
23 September 2009
Warning: Spoilers
The opening scene was less classic than in Once Upon a Time in the West, The shooting of Jews in hiding less credible than in Blackbook, Melanie's escape seen less moving than in The Little House on the Prairie, Hitler portrayed even more of a caricature than in To Be or Not to Be (and that was a satire), Daniel less lovable than in Goodbye Lenin! (but we forgive him), The accents less authentic than in 'Allo, 'Allo (and 'Allo 'Allo, including the pointless violence in that series much more fun), the plot pace less than well, any other QT movie, the violence less effective than in Reservoir Dogs (or any other WWII movie) and useless for that, Melanie's dress less glamorous than Nicole's in Moulin Rouge, the Revenge theme less well spelled out than in Kill Bill, the acting less splendid than in Le Dernier Metro, the burning of the cinema less awesome than in Cinema Paradiso; and Brad Pitt, well, was Brad Pitt (yawn). Melanie Laurent was worth every second of her screen time.
So sorry to disagree w/y'all, but yawn - yawn - yawn.
So sorry to disagree w/y'all, but yawn - yawn - yawn.
Brüno
(2009)
Bruno climbs ev'ry mountain
14 July 2009
This movie is not for the faint at heart. I found myself putting a hand in front of my face or mouth several times. Hail to Sacha Baron Cohen for his outrageous sense of humour. 90% of the material probably ended on the cutting floor for all kinds of reasons, but what remains is impressive. I admire him for taking on so many different groups in society and -if that's true- for sneaking into Lebanon. This movie does not have a lot of depth, don't expect that. It's about (gay) sex and making fun of yourself and of others - and there's nothing wrong with that. What remain are some classic scenes to cater for different tastes. The ones that did it for me were the silence at the camping trip and virtual sex with Milli und Vanilli. Critics have argued that Bruno is not a good as Borat. I beg to differ. However, there is a difference in that Bruno is less of a sympathetic character than Borat and you tend to empathize with Bruno's victims more than with Borat's victims. I really felt sorry for Paula Abdul and Ron Paul and commend them for letting Baron Cohen use the footage. All 'n all even though a bit flawed, it's a must see.
The Last Days of Emma Blank
(2009)
How far will you go to please your relatives...?
19 June 2009
I can't understand why Alex Warmerdam's movies haven't reached a larger audience. Quirky, bizarre, original dialog, beautiful setting, great actors - with wife Annet Malherbe always the true star. His latest is a remake of a play and plays out like one. I thought the Dutch dunes were portrayed fabulously and the house was a marvel. The acting great, with national promise Eva van de Wijdeven putting down a stellar performance that matches young French actresses like the girl who played in Swimming Pool and our own Carice. The plot is as with all his screenplays disturbing yet hilarious, isolated yet universal, crazy yet supernormal. The guy cracks me up. Give him a global distributor for God's sake!
Mamma Mia!
(2008)
Mamma Rules
9 July 2008
For over a year, as a huge Abba fan, I have been horrified by the mere notion of this movie, and terrified by the idea of Meryl Streep starring. I really hated the musical with a vengeance. Went to see it twice, thinking I might have misunderstood it the first time.
After having seen the really bland trailers, heard the shrill Streep and the piercing Brosnan on You Tube, seen the atrocious costumes, the lovely dance Meryl did with Agnetha and Frida on the Stockholm carpet, well, I was electrified, welcome to you here I am my arms are open wide (as in 'I am the city') to go watch the resulting movie with my better half and our friends.
First impression: it probably was bit like Ocean 12 for them: a total guilty pleasure and the fun these post-midlife crisis folks had in the making of, splatters off screen. Meryl's wild arms' gestures in Mamma Mia made me fear I might have to vomit. But, as soon as her Donna character meets her exes (which is fairly at the beginning), everything turned for me. I must say, I love all three actors (bravo to them for taking up these roles! The horrible singing at least is natural), and what a fun trio they made up, those guys. But the real discovery is Streep. Not only does she pull it off, diving into the Abba classics with merry self-deprecating mockery, she makes the songs her own. My highlights were Slipping Through My Fingers, which is one of Agnetha's signature songs, SOS and, yes, The Winner Takes It All -to cover that song is sacrilegious. She made it beautifully. The Dancing Queen reprise is spectacular, better than the first performance. Fair enough, I do want the 'real thing' after having watched this, but I'm sure that may have been the whole purpose. Special mention for Julie Walters, the spunky kid, and Amanda Seyfried, who's a lovely songstress. Minuses: the direction, the art direction and the story. Too bad about The name of the game, One of Us, I wonder and many more (My love my life, My Mama Said, Like an Angel Passing..., Tiger)?
Abba rules forever, and Ms. Streep seemingly has endlessly deep running talents. We knew that already and can now look forward to her next projects, Doubt and Julie & Julia.
This is a movie you safely can take your grandmother and children to see.
After having seen the really bland trailers, heard the shrill Streep and the piercing Brosnan on You Tube, seen the atrocious costumes, the lovely dance Meryl did with Agnetha and Frida on the Stockholm carpet, well, I was electrified, welcome to you here I am my arms are open wide (as in 'I am the city') to go watch the resulting movie with my better half and our friends.
First impression: it probably was bit like Ocean 12 for them: a total guilty pleasure and the fun these post-midlife crisis folks had in the making of, splatters off screen. Meryl's wild arms' gestures in Mamma Mia made me fear I might have to vomit. But, as soon as her Donna character meets her exes (which is fairly at the beginning), everything turned for me. I must say, I love all three actors (bravo to them for taking up these roles! The horrible singing at least is natural), and what a fun trio they made up, those guys. But the real discovery is Streep. Not only does she pull it off, diving into the Abba classics with merry self-deprecating mockery, she makes the songs her own. My highlights were Slipping Through My Fingers, which is one of Agnetha's signature songs, SOS and, yes, The Winner Takes It All -to cover that song is sacrilegious. She made it beautifully. The Dancing Queen reprise is spectacular, better than the first performance. Fair enough, I do want the 'real thing' after having watched this, but I'm sure that may have been the whole purpose. Special mention for Julie Walters, the spunky kid, and Amanda Seyfried, who's a lovely songstress. Minuses: the direction, the art direction and the story. Too bad about The name of the game, One of Us, I wonder and many more (My love my life, My Mama Said, Like an Angel Passing..., Tiger)?
Abba rules forever, and Ms. Streep seemingly has endlessly deep running talents. We knew that already and can now look forward to her next projects, Doubt and Julie & Julia.
This is a movie you safely can take your grandmother and children to see.
WALL·E
(2008)
Wonderful Wall-E's main lesson ignored
27 June 2008
Warning: Spoilers
Great movie, visuals, story & characters. Watched it today in a sold-out theater at Universal City, full of families armed with extra-large popcorn baskets and coke bottles.
Probably the film's most important thread is that we're polluting our earth to such extent that it's becoming inhabitable. In the film, when the overweight humans return to earth, it's still the same unlivable place. Still, they're excited to be back.
In theater, when the lights went on, and everyone had left I couldn't believe garbage battleground in the theater. Rubbish everywhere, left by people who just watched this lovable, yet bleak view of the future for 97 minutes. The incredibly important message was lost entirely on the audience. I didn't leave as upbeat as the other reviewers, maybe because I was confronted with the ugly truth about how we pollute this marvellous place, even inside the theater. Will we never learn?
Probably the film's most important thread is that we're polluting our earth to such extent that it's becoming inhabitable. In the film, when the overweight humans return to earth, it's still the same unlivable place. Still, they're excited to be back.
In theater, when the lights went on, and everyone had left I couldn't believe garbage battleground in the theater. Rubbish everywhere, left by people who just watched this lovable, yet bleak view of the future for 97 minutes. The incredibly important message was lost entirely on the audience. I didn't leave as upbeat as the other reviewers, maybe because I was confronted with the ugly truth about how we pollute this marvellous place, even inside the theater. Will we never learn?
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