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Reviews
The Girl with the Dragon Tattoo (2011)
Turbulent, violent & utterly mesmerising; this razor-sharp thriller will, and should be celebrated for years to come.
A moment must be spent worshipping the anxiety inducing title sequence. As a cover of Led Zeppelin's "Immigrant Song" blares, slick black oil engulfs the screen - simultaneous to glimpses of heinous imagery (including drowning, asphyxiation, and death by fire) which act as a precursor to the sadism that permeates the film. It is salacious to say the least and will leave a lecherous feeling in the pit of your stomach - though this will also be accompanied by a perverse need to watch it all over again. The soundtrack amplifies the visuals to such a degree that this sequence becomes intoxicating & is arguably one of my favourite openings to a film, ever.
With her dyed blonde brows, skeletal frame and rather cadaverous like features - Salander is certainly an unconventional leading lady, yet there is something ethereal; almost child-like about her appearance. Capable of punitive violence, Lisbeth is also extremely vulnerable - though in comparison to her male counterpart, Mikael, Salander is indeed the rescuer & he the damsel in distress. This overt subversion of gender is easily one of the films greatest assets, alongside the characters disparate storylines. The two only meet halfway through the film, which may seem rather late for an audience to have ample time to root for their relationship, however given the velocity in which they are plunged into an abyss of unsolved murders & political scandal - their prolonged separation simply makes their fleeting journey together all the more impactful.
Much to my dismay, I cannot etch from my mind the scenes between Lisbeth and Bjurman. Their encounters are barely palatable, though the craft behind it is admirable. Fincher refrains from voyeuristically lingering over Lisbeth with his camera, subjecting her to be violated twice (once by Bjurman & once for the male gaze) instead opting to envelop the senses. Silence, except for the sounds of a floor cleaner whirring, the creaking of a desk or in a later scene the snap of handcuffs & the squeals of Lisbeth. Honing in on these distinct sounds amplifies the tension of these scenes immensely, as does the chilling music by Trent Reznor & Atticus Ross.
Salander's 'revenge' is one of the most gratuitous (albeit brutal) scenes of the film - though it is certainly not merciless. Her reclaim of power is joyous to watch & Bjurman's timely punishment even more so. In brandishing him, she ensures no other woman falls victim to his depravity; thus in my estimations at least - she becomes a feminist icon.
The casting is truly impeccable. Rooney Mara stuns - to the extent it's difficult to peel your eyes away from her. Daniel Craig delivers a weighty performance as the disgraced journalist, Christopher Plummer is melancholic in his role as the devoted Uncle, and the supporting actors Stellan Skarsgard & Steven Bergoff master their characters' sleazy, repugnant natures - almost too well.
A seemingly simple 'whodunnit' plot, The Girl with the Dragon Tattoo evolves into much, much more. From misogynists and murderers to Nazi's and narcissists, Fincher handles Larsson's novel with the utmost care and consideration, (though if you ask me, his adaptation runs rings around the original) seamlessly weaving each element to form a labyrinth - unrelenting and tenacious, escapable only in the film's denouement.
The only explanation I have for not giving this a 10 is because no matter how much I adore David Fincher, he never gave us a trilogy. Yes, I am still irritated by it a decade later - but truly if you have not watched this before, take a chance & believe the hype.
Joker (2019)
Joaquin Phoenix is hypnotic
The film opens with Arthur in-front of a mirror; stretching his mouth upwards into a smile, a single tear rolling down his face. This scene was extremely powerful, both for Flecks character who struggles to engage with the world, and the audience (because who hasn't masqueraded their feelings behind a smile?)
Following his everyday life, we see that Arthur is treated with hostility in almost every social encounter. Jokes are made at his expense, he is sneered at by others, beaten on several occasions (I felt every kick he received) & we feel hopeless that his situation will ever improve.
As we are privy to his awful treatment (alongside the notes in his journal, his relationships with others -or lack of- and his constant battle with Pseudobulbar), we are much better equipped to align ourselves with his thoughts/motives and I think this is the crowning glory of the film. In light of this, we understand his rage against Gotham/the people who ridicule him & his vengeance is justifiable.
In every scene, Joaquin Phoenix is hypnotic. At times I struggled not to wince at his skeletal stature. His metamorphosis into Joker was fascinating - and I loved that he chose dance as a way to express himself. The eloquence of the bathroom scene vs his charismatic shuffling down the steps later in the film was stunning, and beautifully shot. The scene on the Murray Franklin show was genuinely exhilarating (truly showcasing Phoenix' talents) whilst also criticising a society devoid of humanity & the dishonesty of the media.
Hildur Guånadóttir's cello score was sublime. Fractured & mournful, it greatly adds to the films tone, alongside 'Smile' & 'That's Life'. Joker was my favourite film of 2019 (so much so I went to the cinema on 3 separate occasions) - a masterpiece from Philips as a director (may he ditch making films like The Hangover & instead delve further into the darkness of films like Joker).
Also - Arthur helping Gary when he can't reach the door lock & kissing his head...tugged at my heart strings indefinitely.
The Revenant (2015)
violent, breathtaking tale of survival
DiCaprio stuns in this violent, breathtaking tale of survival.
The Revenant is an astonishing sensory and visual experience, depicting Mother Nature at its most serene & perilous. The visuals are honestly mesmerising, almost like you're on the front-line of filming a David Attenborough documentary. (I absolutely loved that the camera steamed up with Glass' breath during close ups - it really made you feel like you were RIGHT next to him).
I was physically & emotionally exhausted just watching this! Poor Glass never seems to catch a break. Loss; grief, treachery, multiple attacks - his suffering is incomprehensible - all whilst navigating through an environment so inhospitable he has to gut a horse and sleep inside it. Like his surroundings, Glass is also a force to be reckoned with. Throughout the film, his endurance is awe inspiring; his torturous journey both electrifying & terrifying - to the point it becomes absurd. (forget superhero's, Glass is the real thing). DiCaprio gave his ALL to this film, and it is evident in every single frame. He has very little to run with in terms of dialogue, but maaaan he could be in a silent movie and still be utterly captivating.
Tom Hardy tends to mumble quite a lot (to the extent he could have been wearing his Bane mask)- nevertheless he was sublime as the brutish, half scalped menace Fitzgerald. Will Poulter's performance as Bridger was brilliant too, I felt every bit of his trepidation and uneasiness about leaving Glass behind, and his shock when he returns (quite literally) from the grave.
I wasn't a huge fan of the recurring dreams Glass had about his wife - it didn't bring much to the film & created a distraction from the revenge plot surrounding his son. If there had been more of a backstory in the beginning, with her as an actual character (and not a ghost) then I'd have felt differently.
Da 5 Bloods (2020)
Not a patch on BlacKkKlansman
As a huge fan of Spike Lee's "BlacKkKlansman", I was expecting big things - sadly, "Da 5 Bloods" is in no way; shape or form, on par with his 2018 blockbuster.
There are many positives to this film. The editing was smooth (transitions of aspect ratios), the archive footage spliced throughout added a layer of realism to the cause/message of the film, I loved the numerous digs at Trump/Fascism, the way the Bloods romanticised Stormin' Norman, the Hannoi Hannah segments & the films social/political commentary exploring greed & patriotism.
Several scenes are extremely tense & gruesome (the minefields/images of war atrocities), but once the men find their treasure the film begins to feel more like Indiana Jones (showdown at the temple & the double crossing) rather than depicting brotherhood/effects of war.
The redemption arc for Paul, a misguided Xenophobe with PTSD is quite touching, however, the Bloods are shown in a very masculine/aggressive light (Paul's son is the exception). As Lee refrains from giving them an ounce of vulnerability, their performances come off rather lacklustre (despite Lindo trying his dam dest).
Too often, the storyline goes off on tangents, the script repeats itself & the plot loses momentum. Lee overloads with too many ideas, leaving little room to explore issues such as the GI's fathering children with Vietnamese sex workers and the connection between Black-power politics & anti-imperialism. The film should have dedicated more time to actually detailing the war through the prism of black experiences, instead of simply implying it was hard.
The ages of the men in Nam & present day are the exact same (minus Boseman's character), Tiên looks 40ish (when Otis is nearing 70) his daughter looks 30+ (it's all a bit confusing). The score was utterly forgettable & the presence of Marvin Gaye's music fitted really well with the films message, but sadly didn't really work in the scenes they were used in.
Inception (2010)
Daring, disorienting & perplexing
Daring, disorientating & perplexing. Inception is a cerebral film that requires your undivided attention - give it. Or else!
The pacing is relentless, and it's very exposition heavy (3rd act) but, it is expertly crafted by Nolan who makes Memento look like child's-play.
The visuals are insane. Hats off to Wally Pfister & the Special Effects team. The sequence in Paris where the buildings coil on top of themselves is the coolest thing I've ever seen; next to the white van suspended over the bridge & Levitt's zero-gravity fight scene.
Hans Zimmer's score is exceptional. Thrilling & trippy, it mimics the complexity of the different levels of the dream state perfectly.
DiCaprio is the true strength of the film. His performance is so effortless that you instantly buy into the notion that this parallel world is real. He infuses his character with such vulnerability, and really gives the film more substance. I loved the reveal of the night Mal died/his lift of regret) and the Mr Charles tactic he uses on Fischer is totally enthralling (especially when his projections stare at Cobbs/the team).
There are plenty of sly laughs from Tom Hardy (Eames), the master of deception (who can also become a doppelgänger) and the performances from Levitt, Page (our conduit) & Murphy were exceptional.
There's nothing about this film to fault. The ending was amazing! The totem keeps spinning, yet the camera doesn't linger long enough to see if it will lose momentum.
*theory* Cobb was in reality. His totem isn't the tractricoid, but his wedding ring. When he's in dream state he wears the ring, but in the final scene he isn't wearing it (that's how we know it's reality). Time dilation in limbo is more extreme than other levels, so 50 years would be the equivalent of days/weeks (hence why his children don't age).
Avatar (2009)
Vivid, enveloping & transcendent
Vivid, enveloping & transcendent - James Cameron approaches Avatar with the same grandeur as Titanic.
Sci-fi is honestly not my cup of tea, but this is exquisite and I am not ashamed to say that I ugly cried during the film (more than once).
The special effects are absolutely tremendous!!! Alongside the glorious visuals, the iridescent canvas and the fine-tuned sounds of Pandora's ecosystem & it's vast array of animals- Avatar is perhaps the closest we'll come to venturing into a new world (since Lord of the Rings & Jurassic Park).
For all it's visual flair, Cameron does not abandon the art of storytelling.
At the films core is the love story forming between Jake & Neytiri, which is ever so subtle - stirring emotion with longing glances & widening pupils (the CGI is honestly fantastic at capturing this) but underneath it all the narrative flaunts a strong pro green / anti-war message (that really hits home when you think of its relevance both historically & presently)
The concept of Jake's liberation through his avatar was extremely clever. From the opening, where we soar the skies with him in his dreams - I felt very invested in his characters struggles. The scene he runs for the first time, squishing the dirt in-between his toes felt reminiscent to the "Run, Forest Run" scene in Forrest Gump - and his entire journey of spiritual awakening was very uplifting. (loved that the opening & final scenes are both close ups of his eyes - one dreaming/one awake)
The final 40 minutes of the film is action packed, and filmed flawlessly. The slow motion shots really let you relish the moment / the feel of the battle, and the aftermath of the "Destruction of Home tree" hit hard!!! (Mo'at wailing/the song that plays😭)
All actors involved were brilliant, but Zoe Saldana & Sigourney Weaver top the list. I cannot wait for Avatar 2 to be released (roll on 2021). Also - the transition shot of Tom Sully being cremated > Jake waking up in Cryo was so cool. I can't help but wonder if Tom's death was a cover up by RDA...hopefully avatar 2 will clear that up)
12 Years a Slave (2013)
Visceral, unflinching; unthinkable.
Visceral, unflinching; unthinkable. Steve McQueen forces us to confront the evils of human history.
McQueen doesn't just tackle the historical dehumanisation of slaves, he makes us witness it first hand - refusing to filter his characters despair to deliberately make the viewer feel uncomfortable. Every single act of abuse; every single moment of hopelessness his characters face, we too must endure. In the scenes where Solomon hangs/Patsey is whipped, the camera lingers longer than is comfortable & we are forced to look directly at their suffering, and indeed into their souls through the use of close-ups. This was a fearless move from McQueen, which pays off immensely when he contrasts moments of total misery with fleeting moments of tenderness. The emotional resonance of such scenes are greatly heightened by Hans Zimmer's score, which is gravely perturbing at times, and uplifting when necessary.
The true story of Solomon Northup is incredible, and Chiwetel Ejiofor's really does it justice. We see him struggle to hold onto his dignity as a human being, whilst battling to internalise his rage in order to survive years of subservience to the plantation owners that see slaves as their 'property'. Lupita Nyong'o stands out as the most powerful/graceful performance. First introduced to her making corn dolls in a field, Patsey - like the other females slaves in the film - is oppressed by her gender (a sexual object for her master). What separates Patsey from the others is that she is also subjected to physical torture at the hand of the Mistress' jealousy. Her pleas for mercy are never heard in the films entirety, and for me, her plight is much greater than Solomon's as she is stripped of her innocence.
Michael Fassbender as the licentious master Epps grabs & holds your attention with blood curdling intensity, and though Sarah Paulson, Paul Dano & Paul Giamatti have very little screen time, they each create characters so repulsive & depraved you will want to scream. Also, big ups to Brad Pitt as the only white person with morals.
Nightcrawler (2014)
Bloom is a morally repugnant character
The production of this film is flawless, the script is tight & Jake Gyllenhaal's performance lingers long after the end titles.
A skeletal stature, Bloom's eyes bulge from the sockets as he rarely blinks, delivering his lines in a clinical manner, always a slight deviant glint in his eye & his smile. From the beginning there's just something lurking under the surface that doesn't feel right about Bloom, and it's slowly peeled back during the film to reveal him as a sociopath. Manipulative; arrogant, sleazy, egotistical & most certainly callous - his lack of empathy for human life is astounding. Jake Gyllenhaal is absolutely superb throughout, creating a character that is so morally repugnant it's hard to forget him.
In the beginning of the film, I definitely empathised with Louis' character.
Having to resort to petty crimes for income, due to unemployment, his persistence to better his circumstances (even if he has to work from the bottom up) is admirable. My opinion quickly changed when he became more and more obsessive with building a repertoire of grisly crime scene footage; each one more risqué than the next, exploiting a homeless man to become part of his news footage 'crew' and essentially staging murders to boost his career.
The film is not a satire, but a scathing social commentary about the media & the content they air to boost ratings (victims need to be white & affluent, injured at the hands of the poor/minority & must be gory). Statements delivered in the film such as - "if it bleeds it leads", is deeply disturbing though reigns true; and we as viewers are equally complicit - our integrity questioned by our gluttony for blood.
The relationship Bloom strikes with Nina is troublesome on many levels. Firstly his coercion of her to be submissive to his demands professionally and sexually & that she finds his murderous ways inspiring.
Likes:
-The music was calculating (like the cogs inside Bloom's brain)
-Morning news segments
-Rick's "interview" scene
-Bloom testing his camera
Detroit (2017)
Terrifying timely, heartbreaking drama
Detroit is an intense & heartbreaking drama, that is terrifyingly timely right now.
Opening with an animated sequence of Jacob Lawrence's 'The Migration Series', Bigelow skilfully uses this as a storyboard to contextualise historic events & illustrate racial tensions.
The raid of a speakeasy by the police erupts into civil unrest, sparking protests, looting & fire-bombs. During these scenes, a hand held camera is used & real news footage is interwoven - creating a very realistic and immersive experience.
Amidst all of the chaos, we are introduced to Dismukes, a security guard & friends Larry (lead singer of The Dramatics) & Fred (their manager) as they all find themselves at the Algiers Motel. From here, Detroit hones in on three white policemen, Larry, Fred, Dismukes & other residents at the motel - during a night long heart-pounding, torturous episode of abuse (the lingering shots of eyes filled with tears & lips whispering prayers was extremely difficult to watch).
I was blown away by Will Poulter's acting (having only seen him in We're the Millers). Playing Krauss, a bigoted and callous police officer with a penchant for violence & mind games, Krauss and his fellow officers' deep intolerance for Black people; and indeed white women mixing with black men is both terrifying & idiotic. I haven't watched a film for a while that has been so infuriating.
The emotion Algee Smith brings to the role of Larry Reed is sublime. The aftermath of the tragic night at the Motel stands out as the most heartbreaking part for me personally.
John Boyega was excellent as Dismukes, a man who tries to mediate the situation - gaining distrust from both sides as he tackles with his race, his uniform & fear. Jacob Latimore as Fred was also tremendous, and his end was truly unjust.
From state troopers/national guards that turned a blind eye to the abuse happening at the Motel, to the "death game" - I think what's spine-chilling about this film is that the events depicted are real & these issues are still relevant 50+ years later.
The Dark Knight (2008)
Exhilarating, grisly & toxic...
Exhilarating, grisly & toxic, Nolan vaults The Dark Knight into the stratosphere - outclassing, and indeed redefining 'superhero' movies.
It goes without saying that Heath Ledger as The Joker is the films crowning glory. From the gravelly, menacing tone of his voice (which sounds EXACTLY like Tom Waits), the creepy Glasgow smile, the sinister cackle and frequent lip-licking, to his vying stories about how he got his scars, Ledger's portrayal of The Joker is deeply unsettling to watch (particularly in the scene with Rachel), but hella intriguing. Though the anti-hero of the film, there is clear artistry to the orchestration & execution of his diabolical schemes. His sadism certainly has flair (serving us anarchy whilst donning a three piece suit & un-afraid to swap it for a nurses outfit), and he is an utterly mesmerising force throughout the film's entirety.
Aaron Eckhart gave an incredible performance as Harvey Dent, which sadly was overshadowed by the hype of Ledger. His characters subtle transformation from the White Knight of Gotham to Two-Face was superb. I loved the parallels between him & Batman (one used tragedy to do good, whilst the other gives into despair and seeks revenge). I also thought it was well crafted (on Nolan's part) to alter Dent's origin story so that his downfall (and indeed fate) was a product of The Jokers philosophy - everyone is corruptible.
Christian Bale as Bruce Wayne is near faultless (minus his Batman voice). His optimism for a future where he can retire from being Gotham's saviour & live happily with Rachel - knowing Dent could be the unmasked hero of the city was such a clever idea for the plot. It was really nice to be shown a human side to Batman and made his character much more relatable/dimensional.
The films close was really poignant too. Aside from the gadgets; the suit, the bat mobile and stunts - this selfless act to preserve Dents reputation (in my opinion) is what truly makes Batman a hero, and one of the reasons why The Dark Knight is thee best 'superhero' film.
Shutter Island (2010)
Shutter Island masters the enigmatic
Twisted, complex and thrilling; Shutter Island masters the enigmatic.
The opening immediately concocts feelings of fear; from Teddy feeling sea sick, the muted colour palette, the vast scale of the impenetrable fortress, the storm approaching & the alarming flood of sinister music - reminiscent of opening scene of Stanley Kubrick's "The Shining".
The visuals are crisp, elegant and highly stylised throughout - in fact this is true of the entire construction of the film. The characterisation, the script, the sequencing, the performances given - everything is outstanding.
What I absolutely LOVE about this film is its contradictory nature. No matter how many times you watch it, you'll pick up on new clues or slips of the tongue, that will change your entire perspective. Even the title of Shutter Island is an anagram for two opposing things - truth & lies / truth & denial (isn't that genius?)
Add to this the subtle alteration of Ashecliffe, it's patients, Teddy's dreams, the in continuity of statements from Crawley, Chuck & McPherson - and the film blows your bloody brains.
The film inspires much debate, and personally I am of the opinion that Teddy is sane, but then I think of Bridget Kerns drinking that glass of water and I'm back at square one...(though I'd like to believe that's just Scorsese playing mind games)
Gone Baby Gone (2007)
A powerful Boston drama
Gripping, and at times disturbing - Gone Baby Gone is a powerful Boston drama with multiple revelations & a compelling resolution thats up for ethical debate.
Ben Affleck delivers a tremendous adaption of Dennis Lehane's novel, authentically depicting the bleakness of Dorchester, it's people (mostly degenerates) and it's surroundings - perhaps on par with Clint Eastwood's adaptation of Mystic River.
Casey Affleck is just bloody brilliant in his role as Patrick Kenzie. As he narrates the film, we are given additional insight into his motivations and perspective of the world around him. During the film, he comes face to face with repugnant characters and is forced to grapple with his naive ideologies of right and wrong, and the fundamental teachings of the Catholic Church. Throughout, he delivers a careful, subdued & stoic performance - showing just the right amount of emotion to express his turmoil as the events unfold.
A performance that has to mentioned comes from Amy Ryan as Helene (the mother of missing Amanda). A trashy coke hoe, and a sad excuse for a mother - she prefers binge drinking, mouthing off & watching Jerry Springer to co-operating with the police on her daughters disappearance. From the outset she garners such hatred - you are tempted to believe that wherever Amanda is, she's better off. At times she does displays genuine concern for her daughters wellbeing and it's hard not to feel empathy for her in some way, though it seems a bit of an act to bask in the news spotlight.
About half way thought the film, there's a sort of false ending then the story picks up again and goes full speed into a gruesome discovery and major plot twists delivered in the form of flashbacks.
*spoiler*
One scene that stands out for me is when Affleck's character teams up with local drug dealer Bubba to find known paedophile Colwin Earle & his associates, the Trett's. The bathroom sequence was wonderfully filmed, shots alternating between the sink; the bathtub, Affleck's reaction and his reaction. The music that accompanied this sequence made it all the more emotive and I actually felt nauseous watching it. Truly harrowing.
The ending is definitely a talking point for the audience to discuss where their moral compass resides - was Patrick right? Or did he make a massive mistake that he'll live to regret?
All in all, this is a wonderful film with excellent supporting roles from Morgan Freeman, Ed Harris & Michelle Monaghan. A must watch if you like crime/thrillers.
Casino Royale (2006)
A royale, without the cheese of its predecessors.
Casino Royale transgresses against the familiar gun barrel intro sequence of the 007 franchise; instead blasting onto the screen with a grainy, striking monochromatic scene of Bond, in all his glory, brutally murdering a man in a public bathroom.
Following this is the opening title sequence - the first Bond to depart from silhouettes of naked women, instead opting for faceless male silhouettes; their bodies exploding into playing cards and guns shooting out hearts instead of bullets. Chris Cornell's "you know my name" is my favourite Bond soundtrack and very fitting for the Bond that's portrayed.
Daniel Craig most definitely revives a role that has been overdone. Ditching the playboy characteristics emitted from the likes of Brosnan, Craig offers a more well rounded performance as the steely assassin. Still loaded with thuggish charm, we are given the softer side of him - a romantic at heart who is actually capable of emotion. Craig is easily the best Bond there has been.
Le Chiffre defies the trope of a megalomaniac villain obsessed with world domination, which I liked. His blood spurting eye, devilish smile & the scene he tortures Bond was enough to make him menacing.
I loved that Vesper was fleshed out, and not the typical objectified woman who is bedded by Bond then killed by his enemies.
The parkour sequence & the hotel stairwell scene were edited to perfection, and though brimming with all the nail biting action you'd want - the tension created during the poker game between Craig & Mikkelson was equally captivating.
An interesting move was losing the gadgets. With no appearance from Q, and high tech gimmicks swapped for Sony Ericsson's; Casino Royale plays its strong hand with sly dialogue, believable acting and many near death experiences for the protagonist.
Con: i would have liked a scene to show the ultimatum Vesper was given
Se7en (1995)
A real skin crawler.
A tantalisingly morbid psychological/thriller that steadily increases the gloom factor as the plot progresses.
The screeching nail on chalkboard remix of 'Nine inch Nails' by Closer coupled with the spliced images of John Doe removing his fingertips immediately disconcerts.
The entire film is brimming with rich cinematography, atmospheric torrential rain and exquisite attention to detail.
The friction between Brad Pitt & Morgan Freeman's characters is the driving force of the plot, and Gwyneth Paltrow shines as the only unblemished character who radiates light and laughter (in only one scene of the entire film).
John Doe (the killer) rarely loses composure during the films entirety. Egotistical; cunning, highly intelligent and sadistic - he is fixated on forced attrition. Though delusional, he does garner a degree of respect for his dedication (he tortured some of his victims for more than a year) and execution of the murders - each one is more symbolic than the next. In one scene, he scoffs at the detectives branding his victim as innocent people, and what's terrifying about his monologue is that most of it is true. (without sounding too apathetic)
What is artful about this film is that we never witness the murders. Like the detectives, we arrive at the scene. Every frame is dimly lit (pitch black at times) & the only glimpse we see of the victims is from the detectives torches. The 'Lust' scene is one of the most disturbing moments for me. Leland Orsers hysterical performance still gives me the most awful feeling in the pit of my stomach.
Howard Shore's score just racks up the films uncomfortable mood x 100, especially in the final scene (Wrath).
The ending is a piece of cinematic genius, and totally unmissable. One of the greatest endings I've ever seen - it will leave you reeling. (you'll be grasping onto the hypnotic sound of Somerset's metronome to drown out the sheer horror of this film.)
Sleepers (1996)
This film is so slept on (excuse the pun)
A gritty, heartbreaking tale of friendship, the loss of innocence and revenge.
If you were a fan of Stand By Me / A Bronx Tale, then you'll appreciate this.
The narrative style, and the depiction of life in Hell's Kitchen gives this film such an authentic feel. (From the backstory of King Benny - the neighbourhoods mob boss - to the abundance of domestic abuse and the devoutness of the people to the church.) I really loved the opening scenes, narrated by Shakes' character where he nostalgically recalls the mischievous things he and his friends did in their younger years - most of it taking place within the Catholic Church, under the watchful eye of Father Bobby (played by Robert De Niro) This was a very clever insert, and becomes even more moving as this seemingly coming-of-age story takes a sinister turn.
The entire cast was wonderful, but credit must be given to the actors who play the four young boys. Their performances were truly evocative.
De Niro is a close second to them, in his role as the friendly neighbourhood priest who tries to steer the young boys on the right path and keep them safe from harm.
Kevin Bacon's portrayal of Nokes, a beastly and sadistic guard, has had a lasting effect on me. I can't watch him in anything - even his EE adverts - without feeling sick to my stomach. He is a truly unsympathetic character who you will be rooting for to get his comeuppance.
The subject of abuse is handled very respectfully, and I really appreciated that it didn't show anything in graphic detail. The artistic subtleties, in my opinion, make the film all the more harrowing.
The film takes an unusual turn in the final hour, becoming an intricately plotted & thrilling courtroom drama with superb acting from Brad Pitt & Dustin Hoffman.
There are lots of really poignant moments in this film - the game of touch football between the boys and the guards; the aftermath of it, the use of flashbacks & the final scene.
Sleepers is one of my most beloved watches.
Goodfellas (1990)
A flawless piece of storytelling from Scorsese
A flawless piece of storytelling from Scorsese which encapsulates the obscenities of a sub-culture that is too often glamourised.
From their very first encounter, the chemistry between Ray Liotta & Lorraine Bracco is truly engrossing.
Joe Pesci as Tommy DeVito is absolutely incredible!!! The fear he instills onscreen emanates into reality, & it is of no surprise that he bagged an Oscar for best supporting actor.
De Niro, as usual, provides a stellar performance. Despite seeing his character commit several violent acts, he manages to serve us nice-guy charm and comes across as someone who can be trusted.
Scorsese wanted Goodfellas to feel exhilarating, and he definitely succeeds. The tension cultivated during the fast paced, and at times disorienting scene of May 11th 1980 - where Hill is adamant a helicopter is following him - is testament to this. The velocity of this scene; the films close (where Hill breaks the 4th wall), the quick-witted script & the lively performances from the cast secures Goodfellas as one of the greatest movies ever made. *spoiler*
What's interesting about De Niro's character is the ambiguity of the Dior dresses scene. Did he plan to have Karen whacked (reference to the earlier voiceover from Hill "your murderers come with smiles") or was she simply paranoid?
From 'Rags to Riches'; 'Then He Kissed Me', 'Pretend You Don't See Her', 'Gimme Shelter' and 'Jump into the Fire' to 'My Way' as the credits close, the music picked by Scorsese greatly boosts the intensity of the scenes & also reflect the characters/their predicaments over the span of the film. An impressive move from the director.
Favourite moments:
-Karen shouts at Henry
for standing her up
-The hostess party
-Morries wig commercial
-'Layla' scene (the whackings)
-De Niro pours ketchup
-"Funny how?" scene
-Tommy gets whacked
-Dinner in prison
The only thing that irks me is that they tried to pass Ray Liotta off as being 21 in the film (he was 36 at the time & clearly looks much older).
A Bronx Tale (1993)
De Niro's directorial debut
The atmosphere of life in the Bronx is so vivid, from the opening credits where "I wonder why" by The Belmont's plays as wee see Doowops on the corner; Italian men romancing their women (which involves screaming MARIE, GET IN THE CAR), kids playing near fire hydrants & men playing baseball in the streets.
I loved Calogero's voiceover from his perspective as a child - particularly when he starts hanging around the bar and describes the colourful neighbourhood characters of Eddie Mush (the jinx), Frankie Coffeecake, Tony Toupee, Jimmy Whispers & JoJo the Whale etc.
I really enjoyed the relationship between Calogero & Sonny. Sonny was given much more dimension than just the dangerous man Calogero was not supposed to spend time with. Funny, thoughtful and wise, his fatherly connection with 'C' gives a more humanly depiction to an otherwise intimidating gangster. Palminteri was excellent in this role.
Of course, De Niro delivers a wonderful performance too. He tries to teach his son not to respect or admire the gangsters he sees on the streets, as they aren't the real tough guys. Playing a bus driver, he represents the working man - who his son is convinced are the suckers of the world. Although it takes many years and a few tragedies along the way for Calogero to comprehend this, he finally comes to respect his father.
Alongside Calogero's leap to manhood, the film also depicts young love, peer pressure, and the racial tension simmering between Italians and Blacks during the 1960's.
Small things I liked: The Car Door Test, Calogero going to confession, Sunny reversing the car and a young Calogero imitating Sunny.
I would have liked to have seen what Calogero's 'talent' amounted to, since this is one of the most recognised quotes of the movie, but maybe that's just me being picky.
Nevertheless, with music which compliments the mood of the film (expect iconic songs from Sinatra, The Kinks, Jimi Hendrix, James Brown, The Beatles & The Flamingos)- A Bronx Tale is a major success for Robert De Niro's directorial debut.
The Prestige (2006)
Are you watching closely?
Split into 3 chapters, (much like the trick - The Pledge, The Turn & The Prestige) and played out in reverse chronological order using flashbacks and flash forwards, the entire film foreshadows it's ending. Elaborate & immaculately assembled, Nolan's movie-making skills must be applauded.
Most of Borden & Angier's conflict is shown entirely through other characters, or diary entries - yet despite very little screen time together, their rivalry remains a thoroughly absorbing watch until the closing credits.
Cutter's speech at the end was very clever. He breaks the 4th wall and makes you realise you have been a victim of The Prestige all along because you, like the audience wanted to be fooled and missed the numerous clues given throughout the film.
I really enjoyed the concept of the double, Rebecca Hall's portrayal of Sarah & the opposing traits of Borden & Angier. Borden is a poor, struggling artist - a dreadful showman but a real magician, and Angier is an affluent man who is a wonderful showman but has no desire to improve his tricks. This made Angier's hunt for Borden's secret all the more interesting as his intentions veer away from avenging his wife's death and become entirely self-serving.
I wasn't a fan of the Tesla machine. I understand the cloning plot was smoke and mirrors for Borden's secret, but I felt like it was a bit gimicky and swayed more into the realm of science.
*clues to the reveal*
-"We were two young men at the start of a great career. Two young men devoted to an illusion." - This was about Borden & Fallon
-Sarah's nephew asks "Where is the birds brother?"
-Chung Ling So > pretends to be a cripple (Borden admires the man because he too is dedicated to the trick and has sacrificed his life to protect it.
-Sarah notices Borden acts differently - "do you love me today?" - half of the time it was Fallon with her
-Borden tells Cutter he has a trick that magicians will scratch their head over.
- the coin he shows Sarah's nephew (two heads / two sides)
Whiplash (2014)
Think Black Swan, but drumming
A psychological drama, accompanied by some jazz music. This film takes perseverance to a whole other level, and not necessarily in a good way.
From the moment we are introduced to Fletcher, he demands the screen. Ruthless in his verbal insults, and extremely intimidating - he inspires mostly fear amongst his pupils (and weirdly they still seek his approval). His methods of mentoring are torturous, both mentally and physically and it was astounding to me that he justified this later in the film.
Neiman (Teller) is spotted by Fletcher and begins his transformative experience to becoming one of the greats. Throughout his interactions with his Fletcher, the close up shots really showcase Miles Teller's acting skills. You can see the determination on his face, and his anguish when Fletcher dismisses him. It was really easy to empathise with his character, especially when his spirits were crushed by Fletchers vicious slurs. *spoliers*
As the plot progresses, Neiman's ambition becomes obsessive and borders on neurotic (especially when he is involved in a car crash, gets up and walks on stage covered in blood and begins to play the drums). This was a very absurd moment in the film.
It made me angry that Neiman still sought Fletchers approval after everything he put him through (pushed him to the brink of insanity/publicly sabotaged him/plunged him into depression and almost forced him to abandon his dream). I wouldn't say there is anything inspirational about this film, and Neiman's triumphant drum solo at the end is still contingent on Fletchers approval of him as an artist. It kind of sends the wrong message that in order to succeed you need to go through hell; blood, sweat and tears.
The ending dragged on longer than was necessary (there's only so much of a drum solo you can take without thinking ... are you finished yet?) Regardless, Teller & Simmons together was a gripping watch.
End of Watch (2012)
A suspenseful cop-flick with heart behind it
Shot documentary-style, using a mixture of body cams, dash cams and camcorders - parts of the film almost feel like you are on a simulation ride (particularly during the opening scene). The body cam/camcorder shots were really effective during the scenes where the officers stumble upon rather gruesome finds, purely because we witness their reactions in real-time. Although it's an unusual style of film-making, it worked very well and it really felt like you were sitting in on a ride-along.
Gyllenhaal and Peña's on screen bromance is the driving force behind this film. The dash cam footage inside the patrol car really allows the audience to be a fly on the wall as we see their relationship close up - from late night heart to hearts, to teasing and laughing with one another.
This is a really enjoyable film, which deserves much more recognition than it gets (especially since it was filmed in only 22 days). I really liked that it was relatively simple - no big stunts, special effects or visuals, just a great plot and believable acting. Theres plenty of action, gripping moments and perhaps a wee sniffle (who knows). My only grievance is that the ending is rather lack-lustre in comparison to the rest of the film.
The Untouchables (1987)
A compelling Good guy vs Bad guy plot
A compelling, and classically structured good guy vs bad guy plot with plenty of action.
Throughout the film, each time we see Capone he displays a range of characteristics. He is pompous, arrogant, intimidating, flamboyant and ruthless in all of his endeavours (particularly when wielding a baseball bat)- Robert De Niro secures himself as a frighteningly believable Al Capone - even down to the hand gestures, facial sneers and the silk underwear. (apparently Capone was a fan of wearing them)
On Capone's side, Billy Drago's portrayal of Nitti has to be mentioned. From his villainous smile to the striking white suit ensemble - Nitti is one to watch out for. Despite his characters lack of dialogue, he stands out amongst this star-studded cast.
Sean Connery plays Jim Malone, a wise bobby on the beat, and the oldest recruit of 'The Untouchables'. His Irish accent was somewhat questionable, though his wit and Mr Miagi styled performance distract from this. A well deserved Oscar win for Best Supporting Actor.
Kevin Costner's straight- laced performance as Eliot Ness has to be commended, alongside Andy Garcia as the slick Italian and Charles Martin Smith as the eager and loveable character of Oscar.
The most attractive thing about this film is the score (composed by Ennio Morricone.) The arrangements work fantastically in the film, creating feelings of triumphant joy in certain scenes, to sheer suspense. A particularly memorable piece is the "Machine Gun Lullaby" which plays during the slow motion train station shootout. (An iconic scene)
I really appreciated the creeper sequence inside Malones house (can't say much more without spoiling the plot)
The only downside of this film is the special effects/stunts - given the year it was made its obviously not high-tech or sophisticated in comparison to recent film.
This is one of the first films I remember watching when I was younger & it's still up there with my absolute favourites - despite being made 33 years ago.
Inglourious Basterds (2009)
This film...might just be...a masterpiece
With The Verdict by Ennio Morricone playing as the camera pans over a serene countryside - the titular sequence of Inglorious Basterds creates a false sense of security for the slow boil encounter which takes place between Hans Landa and Perrier LaPadite later in the scene. This entire Chapter was excruciatingly tense - amplified by only the sound of a ticking clock and Landa slurping a glass of milk.
I thought the inclusion of subtitles during this scene was also a very smart move to further the plot (from French subs to English & back to French again) and really increased the dramatic irony.
Christoph Waltz' portrayal of Hans Landa was impeccable. Landa speaks with such eloquence it borders on eccentricity. He is perhaps thee most well mannered villain in cinema history. Under his charming veneer- he is a sadist, and takes pride in his nickname 'The Jew Hunter'. His love of mind games is entertaining, and he is arguably one of the best antagonists since Anthony Hopkins in Silence of the Lambs.
The chapter titled "Revenge of the Big Face" was very ironic, and the entire scene of Shoshanna applying her 'war paint' and mourning veil as David Bowie "Cat People" plays in the background was genius. The lyrics were very fitting for her characters appearance/motivations and foreshadowed the final moments of the film. Her revenge story was wonderful, and it was also really nice to see a female heroine in the movie.
Wee things I loved;
-Samuel L Jackson's voiceover (almost like an infomercial)
-holographic projection of Shoshanna's face (The Wizard of Oz vibes)
-Cinderella moment between Hans Landa & Bridget Von Hammersmark, although he is certainly no Prince Charming.
-Tarantino's cameo
-the 'Who am I?' Game
-the slow mo shot of the lit cigarette
-Hammersmark's cast in the shape of a wedge
-Eli Roth's entrance/sports commentary
-the arc shot of Landa & Hammersmark in the cinema when he asks about her foot
-Brad Pitt's Italian accent
-Scarface reference
-the vying plots
-cartoonish portrayal of Hitler
Django Unchained (2012)
One of Tarantino's best; after Inglorious Basterds
This film has everything going for it. The soundtrack alone is excellent (particularly Rick Ross 100 black coffins and james brown x Tupac); however matched with DiCaprio (in only his second sadistic role since The Man in the Iron Mask) & the comical relationship between Django and Dr King Schultz, the film keeps you engrossed, and at several occasions sitting on the edge of your seat. An extremely quotable movie with all the usual Tarantino flair for blood and guts.
Sharp Objects (2018)
If you enjoyed Gone Girl, you will love this.
The story unfolds slowly but do not let that fool you as the final episode is like the twist of a knife to your side. Amy Adams is subliminal in her role as are fellow actresses Patricia Clarkston and Eliza Scanlen. A tale of matriarchy and women being just as morally repugnant as men - it is one of the best tv shows I have watched for a while.
Prisoners (2013)
A murky crime/thriller, with solid performances from Jackman, Gyllenhaal & Dano.
The entire film is one big puzzle. The plot is extremely intricate, and at times confusing - though this is what grips your attention throughout, until a shocking reveal in the final 30 mins. The ambiguity to the ending was genius, and one of the films strengths. I particularly loved Gyllenhaal's idea to give his character a tic (which became more frequent the more distressed he felt.) It is hinted that he has a haunted past, and I felt that his character could have been given a backstory to explain his drive.
The frustration from Drover, who feels Detective Loki's (Gyllenhaal) by-the-book, methodical approach to the case isn't enough was really interesting. Though both men strive for the same end - to return the girls to safety - Jackman's character is led down a path of moral descent. Once a godly man, the grief-stricken father turns to alcohol and bloody violence as a means of justice. (The film seems to be more of a character study of the two men than anything else.) Prisoners is thoroughly enjoyable- a success from Denis Villeneuve.
More time could have been dedicated to the character of Bob Taylor & his trauma which has led to him becoming obsessed with Mazes and the "Invisible Man" (maybe an interview scene). I feel like this could have elevated the film more. Also the character of Alex - Did he have the mind of a ten year old? Or did he understand perfectly what his role was in the numerous abductions? (There could have been a scene of him being questioned in the final moments, an Edward Norton in Primal Fear style revelation would have tipped this over the edge)
Deakins cinematography is stunning. I very much appreciated the dark hues of blue and the solid, illuminating light in the background which creates a silhouette effect around the characters. Several shots are cleverly framed like this around Gyllenhaal (almost like he was destined to be the saviour/hero of the story from the start).