ksrymy wrote: The emperor has no clothes on and this film is wretched."
Boy, I sure can't relate to sentiment whatsoever...I'd understand being "annoyed" by the construction, feeling it is too abrasive or even pretentious, but hmmm...wretched? And yes, your friend appears to be attempting a quip with his paradoxical statement, I see it simply if were we not given the gift of JLG we wouldn't have had such a late career gem as Goodbye to Language. Eh agree to disagree.
However, some recent thoughts I wanted to share my feelings:
Foxcatcher and Still Alice >>>> The Theory of Everything (not to swipe too much from Armond White) .
Sure makes me wonder what causes certain actor vehicles to catch multi-category Oscar momentum (Theory) while others go the opposite direction, where Alice is almost seen as a detriment to its actors. Seems as though these are the 2 films which will represent actor/actress Oscars and (not to fire up Marco too much) in the grand scheme of 2014, aren't they merely Blind Side-y type choices? I'm not attempting to come off naive that Oscar-worthy performances cannot be within lesser films, just why Theory is not seen as one.
For my money Timothy Spall and Scarlett Johanasson should be on JK Simmons type rolls
I struggled with The Gambler like most did here with The Judge...which I still haven't gotten to, but nothing seems more daunting than this...from the man who brought us Fred Claus and Wedding Crashers, next remaking Lynch...
Lost in Translation is still an 11/10 for me as well
Obvious Child (2014) Gillian Robospierre 6/10
The Gambler (2014) Rupert Wyatt 2/10
Selma (2014) Ava DuVernay 6/10
Repeal viewings:
Paradise: Hope (2013) Ulrich Seidl 8/10
Straight Time (1978) Ulu Grosbard 6/10
Lost in Translation (2003) Sofia Coppola 10/10
Rock 'n' Roll High School (1979) Allan Arkush 6/10
Gone Girl (2014) David Ficher 9/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
The last quarter century of artist J. M. W. Turner's life is played out. Timothy Spall grumbles his way to one of the year's finest performances earning the Subtle British Performance of the Year Award in the meantime. This is also the best-shot film of the year by a longshot. It's obvious that Dick Pope is using light to make the film feel like a Turner painting, but he never seems incredibly ostentatious or "look, ma!" The supporting cast is spectacular as is the case in most Mike Leigh films with Dorothy Atkinson and especially Marion Bailey playing the women in Turner's life. Also, I haven't seen sets so beautiful in a very long time. A remarkable film.
Big Hero 6 (Don Hall & Chris Williams, 2014) 4/10
A teen prodigy, an inflatable healthcare unit, and a group of nerds team up to form a high-tech superhero squad. I've had superhero film ennui for a long, long time, but this takes the cake of just how plain it can get. The awful typical Marvel-structured plotline is tired and tedious. The jokes aren't funny at all, there are tons of questions that don't get answered, and, aside from Baymax and Hiro, the core set of characters aren't very worthwhile. They basically fall into "We're nerds and not very good with superpowers, but we'll become seasoned vets with them in the next fifteen minutes." It's incredibly annoying. Also, there are so many deus-ex-machina plot devices and unexplained elements that the film becomes a mess during the end of the second act. The animation is gorgeous though, and it has several eye-popping scenes. Disney's had a solid effort as of late with "Tangled" and "Wreck-It Ralph," but it seems they're starting to skid like Pixar.
At least it's better than "Frozen."
The Book of Life (Jorge R. Gutierrez, 2014) 7/10
A toreador and the son of an accomplished general vie for the affections of their beautiful childhood sweetheart. I wish more animated films would be like this. The animation is really quite excellent channeling puppetry and ventriloquism over a more natural or fantastical style. The Mexican culture throughout is rampant but easily accessible. The voice work isn't really too impressive - it's more practical than anything else. The music, at times, can be great. For every "Apology Song," there's a really bad mariachi version of Radiohead's "Creep." But the story, concept, and everything going into the film makes it quite a spectacle. My favorite animated film of the year, so far.
American Sniper (Clint Eastwood, 2014) 7/10
The story of Chris Kyle, the most lethal sniper in U.S. history. The film's biggest achievement is in its strict portrayal of Kyle and his thoughts. It doesn't try to have anything bigger to say like Kathryn Bigelow's similarly-located films do. This is also a large success due in part to Bradley Cooper who is proving himself to be one of the best working actors we have right now. He balances the right amount of machismo and swagger with a decent portion of introspectiveness. The film's script can be all-over-the-place quite some times. For every scene you have with Sienna Miller on the other line of an in-combat Cooper, you have a girlfriend screaming, "I DO THIS FOR ATTENTION; DON'T YOU GET IT?!?!?!?!?" The sound work in the film is probably the most impressive of the year.
Unbroken (Angelina Jolie, 2014) 4/10
The real life story of Louis Zamperini - Olympic medalist and prisoner of war. It's kind of embarrassing to think that the Coen Brothers wrote something as trite and dull as this. The film is a total cheeseball that feels like one of the legions of WWII movies released in the late '40s/early '50s. Some brighter spots in the poorly-written film are Jack O'Connell, who is going to be the next big thing, and Roger Deakins' cinematography (as usual). But the annoying presences of actors like Finn Wittrock and Miyavi really ruin the whole mood. I'm not quite sure how Miyavi gained any kind of attention. He's basically doing a louder, less-inspired version of Sessue Hayakawa's amazing work in "The Bridge on the River Kwai." A total lame duck of a film.
Starred Up (David Mackenzie, 2014) 8/10
A juvenile offender is promoted to adult prison where he runs into his father. This is an incredibly unnerving film. The paranoia this film makes you feel is truly disconcerting. This is what a prison film should feel like. The film is ballasted by the great, more original father-son dynamic. Ben Mendelsohn, an actor nobody really seems to appreciate, and Jack O'Connell are both marvelous. They create truly embittered, impassioned individuals instead of falling into normal prison tropes. Granted, it does fall into some classic tropes (the guards trying to hang O'Connell to make it look like a suicide), but they're minor enough to be overlooked as they play out a little differently that you'd guess. This film is brutal and one of the best of the year.
REWATCH:My Man Godfrey (Gregory La Cava, 1936) 9/10
A homeless man is hired as a butler by an eccentric (to say the least) family. I like this even more than I did when I saw it a couple years ago. This is definitely one of William Powell's greatest performances; I'd put it right ahead of Nick Charles and just under his work in "Jewel Robbery." And Carole Lombard is a riot as a spoiled society girl - it may be her best work (though I'm partial to "To Be or Not to Be"). The supporting cast is great too. AMPAS incorrectly cited Mischa Auer as the best supporting male in the film as Eugene Pallette's tired father is the most complex, funniest role in the film. Alice Brady does her usual shtick, but, as always, she does it well. The best supporting female, I'd say, is Gail Patrick who handles her character's arc in a believable and subtle fashion. In a loud film full of funny people, she doesn't try to yell over the rest of them. This is very much an actor's film though that isn't to say the set design and costumes aren't absolutely gorgeous. A treat I'd be happy to revisit often.
Sisters of the Gion (Kenji Mizoguchi, 1936) 10/10
Two sisters work as geishas in the Gion district. One of Mizoguchi's finest. While it's not quite up to speed as his mid-'50s work (then again, most people could never come remotely close), it's his best early film - dare I say better than "The Story of the Last Chrysanthemums?" The success of this film is largely due to the surprisingly feminist script and the acting power of the titanic Isuzu Yamada - Yamada is absolutely perfect as Omocha, a progressive, western-clothed lady who is more keen on sex and class relations than her traditional, more behind-the-times sister. Yamada uses subtle expression and superb line delivery to give one of her career-best turns. She's a force to be reckoned with and easily one of the greatest women to step in front of a camera. Mizoguchi's tight, strict framing on Umekichi is beautifully contrasted with the loose, dreamy shots focused on Omocha. The director uses a lot of refined, simple, and elegant touches to really polish the film up and help us discover who these women are. Mizoguchi does fallen women better than any other directort; sorry, von Trier.
REWATCH:Osaka Elegy (Kenji Mizoguchi, 1936) 10/10
A switchboard operator becomes a mistress to several different men to support her wastrel father. As perfect as the first time I saw it. Mizoguchi is master class, and Isuzu Yamada proves to me, yet again, that she may have been the greatest Japanese actress of all-time. Mizoguchi presents another surprisingly feminist bit of work as we follow Ayako and her sacrifices to help a man she must only obligatorily appreciate. It's a look at the then-modern family that would make Ozu blush. The supporting males playing Ayako's lovers are at the tops of their games, each serving their own literary purpose for our entertainment. This film is rapidly making its way up my all-time list.
The Crime of Monsieur Lange (Jean Renoir, 1936) 10/10
A man with a hobby of writing Western novels is put in a precarious situation when his boss fakes his own death and then reappears later with demands. This is, without a doubt, one of the greatest French films I've ever seen. It's incredibly admirable in its balancing plot with politics; that's not something even the greatest of directors can do so easily, but Jean Renoir does is flawlessly here. And Jules Berry puts in a noteworthy, important performance in support; it's the kind of role any character actor would kill to play. The sets are great and everything, but, really, the story and brilliant acting is what propels this film to perfection. One of the best films I've ever seen.
The Lower Depths (Jean Renoir, 1936) 8/10
An easy-going thief befriends a rich baron and falls in love with a girl in the process. Renoir's masterful touches and embellishments in this film are astounding and remarkable. His eye for depth (apropos for the title) is something I don't see in most films - emotional depth but also physical depth as there is a lot of shadowplay and toying with the backgrounds. As always, Jean Gabin is completely captivating, but, for once, he isn't the real star; Louis Jouvet as the taken-advantage-of baron has the juiciest part with all the best lines. It's a performance where every bit he has could be his awards show clip. One of the best performances Renoir ever directed. One of his best. Renoir is quickly becoming a top ten director for me.
REWATCH:Partie de campagne (Jean Renoir, 1936) 8/10
A family spends a day in the countryside, and the daughter of the family falls in love with a man at the inn in which they are staying. Equal parts beautiful and frustrating, Renoir's unfinished work could have easily been his masterpiece. Sylvia Bataille is great at the daughter mentioned before. There's an innocent air Bataille puts on (or maybe it's natural) that really helped her craft a quite interesting and complex character. The opening shots over water are incredible especially for its time. Maybe the best thing about the film is its score - what gorgeous music. I wish I could give this a perfect score, but I just can't. It's too frustrating an unfinished work to fully reward.
Mayerling (Anatole Litvak, 1936) 8/10
The disgruntled son of the Emperor abandons his arranged marriage for a 17-year old consort. This is incredibly shocking and daring for its time; even moreso because it's based on a true event. Charles Boyer's performance is something to take notice of - it's quite disturbing. He really gets into the psychological side of Rudolph and crafts a truly menacing portrait of obsession and illness. And, as his lover, Danielle Darrieux (in the role that made her a star) is terrific. She takes a role not asking for much and injects it with a certain potency that makes it all very real and beautiful. Gorgeous set pieces and costuming aside, the film is quite good by a director who's very hit or miss with me.
Swing Time (George Stevens, 1936) 9/10
A man tricked into missing his wedding forms a successful dance partnership with a dancing instructor, but their relationship is marred by the instructor's bandleader boyfriend. This is the best Astaire/Rogers film bar none. Ginger Rogers doesn't leave me cold and Fred Astaire isn't twee and bothersome. The dance sequences are spectacular, of course. Sure, the film is basically a duplicate of "Top Hat" in terms of plot, but it's much better done here. The one big thing that caught me off guard was Fred Astaire doing blackface - it's really shocking and uncomfortable. The songs written for the film are all iconic in their own rights. The costuming is, obviously, radiant. Other than that "Bojangles of Harlem" sequence, it's a damned fine film.
Modern Times (Charles Chaplin, 1936) 10/10
The Tramp struggles to adjust to the industrial era but gets some support from a beautiful homeless girl. This is Chaplin's most creative, inventive, and original work. Is it his best? I'd say that endowment belongs to "The Gold Rush." But "Modern Times" is another kind of animal entirely. The feeding machine sequence is the film's greatest achievement. It feels right out of a Marx Brothers film as well as right out of an Aldous Huxley novel. It's the crowning achievement in a film full of them. The score to this film is also Chaplin's best, I think. Also, Paulette Goddard > Virginia Cherrill.
Port of Shadows (Marcel Carné, 1938) 10/10
A military deserter finds love in a 17-year old deserter whose awful father and vicious gangster ex-boyfriend try to insert themselves into the mix. This film has done the impossible: filled the void in my life since "Sunset Blvd." No film comes close to the perfection of Billy Wilder's masterpiece, but "Port of Shadows" has all the perfect elements in one whole film that I've been craving for years now. Jean Gabin is perfect as the brooding protagonist, Michel Simon is perfectly used in support, and Marcel Carné's direction is superb. There's this eerie, evocative moodiness that envelops the film like the harbor mists we see so frequently here. The cinematography is beyond stunning and, at times, some of the best I've ever witnessed. This is a film I could easily watch once a month and never tire of.
Le jour se lève (Marcel Carné, 1939) 9/10
A man locks himself in a hotel room after a murder and recounts everything leading up to the event. This seems ahead of its time. "Citizen Kane" gets praised for its non-linear storytelling, but this came a good two years before then and seems to get no credit at all. The script is marvelous, as is expected, and the acting is all top-notch with Jean Gabin (as always), Jules Berry, and Arletty giving star turns. Marcel Carné is a hell of a director into whom I need to continue delving. The film is very gritty and dark for its time - even for French cinema, the tinges of incest, real or not, throughout really struck a chord with me. The film is a clinic in cinematography also; every shot seems to have been perfectly calculated and constructed. A really beautiful film that seems to have fallen out of favor unrightfully.
We Are the Best! (Lukas Moodysson, 2013) 8/10
Three girls with almost no musical experience form a punk rock band. Adolescent rebellion has never been as fun as it has here. Lukas Moodysson captures the angst in his framing and direction alone. The three girls are perfectly cast and they act their little hearts out. You can tell which bands influenced the making of the film, and it's really a punk rocker's dream come to life. A good film by one of the best up-and-comers out there.
The Judge (David Dobkin, 2014) 2/10
A successful lawyer returns home to find that his father, a respected judge, is accused of murder. This is basically what a really bad 2.5 hour episode of "Law & Order" would look like. Robert Downey, Jr. knows he's in a crap movie, so he doesn't really try. Robert Duvall's Supporting Actor nod is egregious and worthless. There isn't anything redeeming about this movie. It's filler.
Wild (Jean-Marc Vallée, 2014) 5/10
A woman with a tragic past hikes the Pacific Coast to find herself. This isn't really any different than any other "woman finding herself" movie, but at least it's ballasted by a Reese Witherspoon performance that is out-of-character for her but also refreshing and well-done. Laura Dern is good in her few scenes, but I've always liked her so I may be a bit biased. Had there been no big names in this, it would have debuted on the Lifetime Movie Network.
Love Is Strange (Ira Sachs, 2014) 8/10
After nearly four decades together, a gay couple marries only for one of them to lose his job because of it. I really enjoyed this one. It didn't go out of its way to damn conservatives and talk about the evils of business; it, instead, focuses on the story at hand which is quite a good one, I may say. John Lithgow and Alfred Molina have a wonderful chemistry and both have several opportunities to shine (and they take full advantage of them). Surprisingly though, neither was my favorite part of the film. I really enjoyed Marisa Tomei's supporting work as Lithgow's novelist daughter. Her role basically amounts to a couple scenes with some background work involved, but she takes those scenes and creates a memorable, beautiful character. Is it her best-ever work? Probably not, but, in a year where the supporting actress slate is pretty weak, she's one of the best. And Ira Sachs' screenplay is marvelous on top of all this.
Show Boat (James Whale, 1935) 5/10
The daughter of a performer becomes the main attraction on a touring riverboat. Much like the title object, the film is full of hot air. Irene Dunne in blackface is something that needs to be seen to be believed - it's hilarious for all the wrong reasons; also, it doesn't feel overly black like most numbers. The film is quite a drag though. It can't hold its melodramatic water. It tries too hard to develop several storylines and casts the most boring of them all to the foreground. Of all the couples, Paul Robeson and Hattie McDaniel are both the most entertaining and moving. Everyone else (Dunne and Allen Jones, Helen Morgan and her boring companion(s)) pales in comparison. At least "Ol' Man River" is a complete success thanks to Robeson's amazing voice. The costumes are nice too, but this film wouldn't be much more without Robeson and McDaniel.
Things to Come (William Cameron Menzies, 1936) 8/10
The human drama behind a seventy-year trek through global war and rebuilding. This film is undeniably cool. The sets are grander and more spectacular than the ones in "Metropolis." It's not better than the Lang film (the acting would need to be much better), but it certainly deserves to be mentioned alongside it. The visuals are stunning and the score is especially noteworthy. The film gets a little messy in the second act but picks itself up and dusts itself off in the third to really tie it all together nicely. A great cautionary tale appropriately released in the Cold War era.
The Story of a Cheat (Sacha Guitry, 1936) 8/10
The life story of a treacherous scoundrel of a man who seems to cheat and escape his way out of everything. The cheat himself is entirely unlikable on paper, but Sacha Guitry really molds him into a brilliant, funny, poignant, and realistic person. The film is essentially a silent flick with voiceover guiding us through - voiceover is incredibly difficult to do naturally ("Sunset Blvd." perfects natural voiceover), so the film is a big accomplishment because of this. The screenplay is radiant as are the sets and costumes. A very fun flick with a lot to offer.
The Devil-Doll (Tod Browning, 1936) 3/10
A respected banker uses miniature assassins to rid himself of problems in his life. The film is basically a ripoff of Tod Browning's previous film(s) "The Unholy Three." Lon Chaney in drag is far better than Lionel Barrymore in drag. The film is a bit of a bore save for the great visual effects and good campy Barrymore performance. Not worth much else though.
Craig's Wife (Dorothy Arzner, 1936) 5/10
A spoiled, materialistic woman connives and controls everything on her way to perfection. Much more psychologically interesting than most films of this time. A lot of this has to do with Rosalind Russell's exquisite, terrific performance. It may be Russell's best early performance. I've never been so terrified of an actress I so admire and adore. It's something else to behold entirely. Other than Roz, though, the film is a bit flat. Still, it should be seen for her performance alone.
REWATCH:Come and Get It (William Wyler & Howard Hawks, 1936) 5/10
An ambitious lumberjack leaves his saloon singer girlfriend to marry into wealth only to fall in love with a similar-looking girl years later. I expected more from a Hawks/Wyler picture. This is as mediocre as you can get. Decent performances, decent technical bits, decent everything. The logging montage was really great though and reminded me a lot of Aleksandr Dovzhenko's bread-making montage in his masterpiece "Earth." I don't get the hoopla over Frances Farmer.
Anthony Adverse (Mervyn LeRoy, 1936) 3/10
An orphan raised by nuns falls in love and battle evil aristocracy. Like a beached whale, this film is about as bloated as you can get. Olivia de Havilland phones everything in, and even the reliable Fredric March is a bore - I've never liked his period work. Claude Rains seems to be the only person having any kind of fun. The film has a lot of great technical aspects - its cinematography is top-shelf and the costumes are nice. The tracking shots throughout are beautiful too. But, man, I could not care any less for any of the characters. Anthony is milquetoast and even the potentially-awesome Faith Paleologus could have been amazing, but Gale Sondergaard played her so mild-manneredly. A big disappointment.
The Trail of the Lonesome Pine (Henry Hathaway, 1936) 4/10
A long-running feud between two mountain clans is interrupted when love barges in. A historically-important but unmemorable film with a melodramatic and eyeroll-worthy love story. Henry Fonda in a smaller role is really good, but Fred MacMurray and Sylvia Sidney are pretty boring and lame. The on-location, Technicolor cinematography is, predictably, breath-taking though. It's certainly something to see even if the rest of the film is tripe. Beulah Bondi does the best work in the film as the grizzled matriarch.
Mr. Thank You (Hiroshi Shimizu, 1936) 8/10
A friendly bus driver escorts several different passengers from rural Japan into Tokyo. The film, while obvious in its literary elements, really creates a unique blend of characters with the virgin daughter being sold into prostitution taking the forefront. The best performance is very much the lead's - Ken Uehara injects a lot of sincere monotony into each of his arigatos. His scenes helping people onboard or even with their daily problems are top-notch work. It's a performance I really admire by an actor I hope to see a lot more from. I need to see more by Hiroshi Shimizu - I've only seen this and I cannot wait to find more by him. The editing in this movie is quality as well - that and the winding cliffside shots from the grille of the bus are gutsy and smart. A film I'm very happy to have stumbled upon.
As You Like It (Paul Czinner, 1936) 2/10
The classic Shakespearean tale of a woman who masquerades as a man to teach a man how to woo her. It's like they completely abandoned Shakespeare and just wanted to make a showcase to show how cool and English-speaking Elisabeth Bergner was. One of the worst adaptation I've ever seen. At least Laurence Olivier is great as Orlando and the costumes are really billowy and nifty.
The Boxtrolls (Graham Annable & Anthony Stracchi, 2014) 9/10
A comedic fable involving a young boy raised by a group of trolls who live inside boxes. I am completely obsessed with this film. The animation is perfection, the music by Dario Marianelli is superb, and the voice work is amazing. The voice work is especially noteworthy in that, unlike Pixar's casting, the voices seem so natural and don't distract us from what's happening. Ben Kingsley as the lead villain is some of the best voicework I've heard. Also, Snatcher's drag number is one of the scenes of the year. The Victorian, cheese-related steampunk setting is adorable and not overly-quirky. I want a boxtroll of my own, and I'll probably end up being one for Halloween. Like I said, I'm kind of obsessed with this movie.
Guy and Madeline on a Park Bench (Damien Chazelle, 2010) 8/10
A womanizing trumpeter forms a keen interest in and relationship with an introverted girl who takes to his music. This is one heck of a film. It's got the feel of a '30s or '40s musical with the charm of one from the '60s and the cinematography and raw power of today's indie films. It's "Top Hat" by way of "Whiplash" really. And that's not just because Damien Chazelle directed this and "Whiplash." It has a gritty, shaky feel to it that I really appreciate. Shakycam usually annoys me, but it works for the jazz feature here. It shakes and quakes with our characters emotions. It's barebones, 16mm aesthetic is the real star of the film. The stars playing the title characters are captivating; there isn't a scene they don't eat up. This is a rare kind of musical film that I truly appreciate. It's like an Astaire/Rogers picture if it were Miles Davis/Joni Mitchell. I greatly enjoy this film, and I look forward to future viewings.
Plus, how can I not enjoy a film whose lead characters' names are direct references to the leads in one of my all-time favorites "The Umbrellas of Cherbourg?"
The Unguarded Hours (Sam Wood, 1936) 5/10
A prosecutor's wife is embroiled in the case on which he's working. The film tries to be a clever bit about blackmail and consequences and marriage, but it falls flat. Franchot Tone is one of the most boring leading men in Hollywood history - he does consistently subpar work. How his career ever started, I'll never know. At least Loretta Young is okay as a woman in over her head. The story could have been really great, but the film is rather harebrained.
The Prisoner of Shark Island (John Ford, 1936) 5/10
The doctor who helped heal John Wilkes Booth is sent to a brutal prison. This is John Ford at his most mediocre. The story isn't all that engrossing, and Warner Baxter never could really hold a film up on his own. At times, the film seems to be screaming "Hooray for the Confederacy!," but I don't think that's what it intended. The cinematography in this is really great though - the exterior shots of the prison are beautiful.
A conservative town is morally shaken by a scandalous novel written, under a pseudonym, by a respected townswoman. The film is really cute, and Irene Dunne turns on the charm for almost 90 solid minutes. It's a good performance though nowhere near her best. One of the biggest faults in the film is Melvyn Douglas whom I never found great as a leading man - he's always outclassed and outacted by his female leads. He's such a bore. This is basically "Chocolat" for the '30s.
The Story of Louis Pasteur (William Dieterle, 1936) 5/10
French chemist Louis Pasteur proves his colleagues wrong when his discovery of germ theory leads to clean milk and unspoiled alcohol. I'll take brooding, angry Paul Muni over great man Paul Muni any day. I dislike this more than I did the first time I saw it (and I moderately enjoyed it the first time). The film is just an unexciting, bland look at a great man deserving of a great picture. Muni is very plain and looks kind of ridiculous in the makeup he's in. A very unaffecting, though not bad, biopic.
Libeled Lady (Jack Conway, 1936) 7/10
An editor hires a man to compromise a woman suing the paper for libel. Has so much charm ever been found in a cast? William Powell and especially Spencer Tracy hit their comedic strides with such great confidence. Tracy is really funny, and it's a shame he's not in the picture more - the film starts out shaping him to be the lead. The women here, Jean Harlow and Myrna Loy, are two I'm not particularly fond of at all; both are radiant with wit and sass here. They succeed in making these women real and complex while balancing the overtly comedic tone of it all. Had this been directed by Preston Sturges, it could probably have been one of the best screwball comedies ever, but, for now, it'll be good but not great.
REWATCH:Dodsworth (William Wyler, 1936) 10/10
A retired automobile magnate tours Europe with his wife who sleeps around to sate her midlife crisis. This is a film I return to pretty regularly because it has so much to say. It is the most modern film of its era hands down. The film is the closest thing I can think of to an American Bergman film. The heartbreak and impending sense of loss and doom in this film malingers over the whole picture like a cloud of cigarette smoke and sawdust. Walter Huston gives his greatest-ever turn as the title character. His almost dopey portrayal of Dodsworth makes him all the more endearing and touching. He's grown soft with age instead of cold like his wife. And Ruth Chatterton is great here though I've never really cared for her. Their scenes together are spectacular but nowhere near Huston and Mary Astor's scenes. Astor lights up the picture as the only semblance of hope in the film. She clears that smoke-and-sawdust cloud from the room like a reverse vacuum. She plays Edith with such dignity and quiet, charming repose. It's one of the greatest supporting turns of all time. The art direction is incredibly impressive - the shot out of the office window overlooking the giant neon 'DODSWORTH' sign never ceases to astound me. This is a top one hundred film for me. A picture that will stay forever relevant.
REWATCH:Fury (Fritz Lang, 1936) 9/10
A wrongfully-convicted man is thought to be dead in a prison lynching but carefully exacts his revenge on the twenty-two persons responsible. Fritz Lang's American debut is a hell of a thing to witness. This was my second viewing, and it still begins and ends with quite a bang. Spencer Tracy is perfect as Joe Wilson - our Hitchcockian everyman. Sylvia Sidney takes a melodramatic role and carves out something really beautiful in it. There are several scenes she controls with her vocal timing that really make me admire her. The cinematography and score are incredible. The film's only misstep is its bizarre ending.
The Petrified Forest (Archie Mayo, 1936) 5/10
A diner is held up by a fearsome gangster while a British man with nothing left to lose observes it all. I don't really get the acclaim for Humphrey Bogart's performance. It's the same schtick as everything else he does - the only difference is that this was the first time he did it. He played the role better in films like "High Sierra" and just as run-of-the-mill in "Angels with Dirty Faces" and the crappy "Dead End." Leslie Howard is dull and full of himself, and Bette Davis doesn't get a fair shot to make the picture more exciting. The script still manages to make things interesting plot-wise, so I can't knock it for that at all.
The Gorgeous Hussy (Clarence Brown, 1936) 3/10
A pretty and politically-involved woman courts every man except the one who loves her. A bloated bore of a film. Joan Crawford is too modern for a period piece like this. She was the only cast member who showed any kind of personality which kept the film barely afloat as every other cast member flails and grabs onto her bustle to not drown. Beulah Bondi's Oscar nod is odd as she smokes a pipe and has a couple very typical scenes for her - the one scene where she asks Crawford to watch out for the women gunning for her is actually pretty good though. The hairstyling and costumes are really good, but this is a perfect example of a lifeless costume drama in early sound Hollywood.
Sabotage (Alfred Hitchcock, 1936) 6/10
A detective races to stop a man from setting off a bomb in a public London setting despite his cover being blown. Standard, forgettable Hitchcock. Every actor in the film seems to think his/her co-star is the star, so every performance feels phoned in. The real reason to check this out is the marvelous editing and great special effects. The fifteen minutes (in the movie) on the double-decker bus are memorable and tense. It's like "Speed" for the '30s. Other than that big scene, though, the film isn't really anything to write home about.
Secret Agent (Alfred Hitchcock, 1936) 5/10
Three English spies are sent to kill a German, but two of them are uneasy to do it as the mission conflicts with their consciences. Peter Lorre, in a campy role as a bloodthirsty, over-the-top Mexican killing machine, is the only truly memorable thing about this movie apart from the captivating trainwreck scene at the end which has some of the best visual effects I've seen for the film's time. Lesser Hitchcock worth watching but not worth canonizing.
Desire (Frank Borzage, 1936) 9/10
A cunning jewel thief plants a priceless strand of pearls on a dopey, unsuspecting American on their way out of France to pass security. Holy cow, I was not expecting to absolutely adore this as much as I did though, honestly, I should have known I'd appreciate this since I'm enamored with "Trouble in Paradise" and "Jewel Robbery." The film is also an absolute dream - directed by Frank Borzage, produced by Ernst Lubitsch, written by Waldemar Young, shot by Charles Lang, and starring Marlene Dietrich, Gary Cooper, and Alan Mowbray. It does not get any better. And the film's biggest success is that Borzage doesn't try to mess with the Lubitsch formula. He follows it step-by-step but adds that helpless romanticism he so perfectly captures in all his films to make the film the definition of a delight. Nobody films falling in love quite like Frank Borzage. I never would have guessed Marlene Dietrich could be so funny. She is on record saying it's the one film she could never regret doing, and you can tell she's having so much fun playing the role. At times, it seems like she's a single breath away from laughing at the sheer humor of what's happening and having to reshoot. And Gary Cooper is perfect as the dummy in love with her. He really loosened up from his usual wooden façade (probably having already appeared alongside Dietrich before in "Morocco") and lets loose. Alan Mowbray, as the man Dietrich frames the robbery on, is really, really funny in his few scenes; I think it's the best performance of his that I've seen. This is a film I will cherish for a long, long time.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
A pilot and the woman who became his foundation for life relegate themselves to middle class normalcy, but when an influx of funds surfaces their relationship is put to the test. Under any other director, this would be a total dud, but Frank Borzage is the greatest of all romantic directors. He shows the tribulations and pleasures of love in a relationship's development with such graceful ease. Kay Francis and George Brent are great in poorly-written roles. The script's greatest benefit is playing on Kay Francis' speech impediment, but, aside from that little bit of meta brilliance, it's a fairly phoned-in script with cheesy lines and predictable plotlines.
Hands Across the Table (Mitchell Leisen, 1935) 7/10
A slacker and a manicurist, both looking to marry for money, fall in love with each other. This is actually a funny, clever little movie. A fun premise with Fred MacMurray and Carole Lombard (always a great duo) makes for a real saccharine treat. The script is the best asset - it's not quite Ben-Hecht-level stuff but it holds its own and doesn't have any damning flaws. Carole Lombard is always so gorgeous and charming and she plays on that persona here while transforming into the Regi character. Fred MacMurray, who is usually very hit or miss with me, is delightful here. Maybe better than both of them is Ralph Bellamy in support as Lombard's customer who helplessly falls in love with her. His character brings the real touches of heart and sadness into the film. But, to counteract that, the pranks Lombard and MacMurray play together are very laugh-out-loud funny. A well-polished film.
China Seas (Tay Garnett, 1935) 6/10
A sea captain battles with typhoons and pirates while choosing between a brash, bold ex-flame and a prim, aristocratic ex-flame. Clark Gable does standard dialed-in work here, but everyone else seems to be in tip-top shape. Rosalind Russell is great as Gable's proper ex-lady. She seem to be channeling a more serious Aline MacMahon from "One Way Passage," and it's a wise choice because it really works out well for her. Wallace Beery is great as a pirate on the inside doing some of his best ever work (in an incredibly impressive career). And this is the second time ever I've really liked Jean Harlow's work. She plays her character smartly and in a very reserved manner. It's basically her "Red Dust" role amplified and controlled better. The sound work on this is really crisp for an early film too. The film is still pretty cheesy and predictable but a fun watch - something TCM would play in the afternoon on a weekday.
The Last Days of Pompeii (Ernest B. Schoedsack, 1935) 3/10
A blacksmith becomes a gladiator in the days before the deadly explosion of Mount Vesuvius. Well this is a load of crap, but it has Merian C. Cooper behind it, so it's worth seeing for some post-"King Kong" action sequences. The problem is that it takes 90 minutes to get anywhere. The storyline is bloated and basically tripe. The performances are terrible and nobody seems to care. But then the last twelve minutes come and the visual effects are stunning. If you want to sit through this, just watch the last fifteen minutes and you'll be good.
She (Lansing C. Holden & Irving Pichel, 1935 7/10
A man whose father's father's father's (...) discovered the fountain of youth goes on a quest to find it only to encounter She Who Must Be Obeyed, a woman who loved one of his ancestors to whom he bears a striking resemblance. The costumes and visuals pop as if they're in 3D. The set design is crazy, contorted, and harlequin in appearance but functional and beautiful nonetheless. The performances are merely okay - the script never calls for them to do anything truly dramatic or demanding. It's mostly a visual feast guiding by Merian C. Cooper. A good fantasy film I'd love to revisit soon.
The Phantom Light (Michael Powell, 1935) 3/10
Criminals pose as ghosts to scare away a new lighthouse keeper. This would've been better as a comedy. The only real thing it has going for it is Michael Powell's incredible eye for angles and framing and Gordon Harker's sheer blue-collar, backwoods feel. Other than those two things, it's not really too terribly great. I didn't actively dislike it though.
Force Majeure (Ruben Östlund, 2014) 7/10
A Swedish family is torn apart by a reactionary bit of cowardice during an avalanche. This film has a lot of potential, but it is never fully exploited. Lisa Loven Kongsli is great as the matriarch of the family unsure of where her marriage is going. She's the real center of the film even though the cowardly father is the main character. Many people ask which spouse you side with; I side with neither. I think they're both idiots, but I think that may also be the point Ruben Östlund is getting at. The avalanche itself is one of the scenes of the year - beautifully shot and very tense. The satire on masculinity is seething and great in this though. It just needed to be about 30 minutes shorter.
A Midsummer Night's Dream (Max Reinhardt & William Dieterle) 6/10
Shakespeare's classic tale of a king's love magic going awry on mortals. This is better than most Shakespeare adaptations. It's not incredibly stagey and this allows the camera to explore the forests. The acting is pretty subpar, and this is not including Mickey Rooney's Puck which may be the absolute worst performance in any Shakespeare movie (or play, for that matter) ever. Rooney obviously has zero idea how Puck should be played - the performances in Christopher Dunne's 1999 infamous "Titus Andronicus" were better.
With all that though, the film has to be the most visually impressive feature from this period that I've seen. The costumes, sprites, and flying are all so seamless and sharp. Incredible.
A Tale of Two Cities (Jack Conway, 1935) 7/10
Charles Dickens' classic tale of a Frenchman and an Englishman in love with the same woman during the French Revolution. The acting here is pretty great. Ronald Colman, Basil Rathbone, and Lucille La Verne are all great, but the best work goes to Blanche Yurka as the sinister Madame Defarge. She's despicable and uses her silent-filmed-trained expressions to deliver her lines with great unnerve. The film is glamorous and grand. It's sets and costumes are stunning. Not the best adaptation of Dickens but a good one altogether.
David Copperfield (George Cukor, 1935) 7/10
Charles Dickens' classic tale of a young boy's fight for happiness. With vibrant costumes and great acting, "David Copperfield" succeeds in many senses. While Dickens is very hard to adapt to the screen, this effort is one of the best. Maybe the best aside from David Lean's "Great Expectations." W. C. Fields as Micawber and Edna May Oliver as Aunt Betsey are marvelous. Roland Young does great work as the vile Uriah Heep too. An all-star cast. If only Freddie Bartholomew weren't so annoying...
Love (Edmund Goulding, 1927) 6/10
Leo Tolstoy's classic story of a privileged doctor's wife who falls in love with a Russian officer. "Anna Karenina" is one of the best books ever, so, naturally, it is basically impossible to translate to the screen. But with faces like Garbo and Gilbert, you can succeed in your own right. Both actors do a fine job in their roles (Garbo more than Gilbert). Maybe most impressive are Adrian's costume designs as it really feels authentic and they look great on Garbo. Nothing incredibly spectacular though.
Anna Karenina (Clarence Brown, 1935) 6/10
Leo Tolstoy's classic story of a privileged doctor's wife who falls for a Russian officer. Again, "Anna Karenina" is hard to bring to the screen, but if anyone could play her, it'd be Greta Garbo. This version may be marginally better or worse than Garbo's previous "Karenina" film "Love" from 1927 - it depends on what I'm feeling that day. Fredric March is great as Count Vronsky - much better than John Gilbert. Freddie Bartholomew is a little prick and the fewer films I see with him, the happier I'll be. Clarence Brown is a very milquetoast director; he plays everything safe and focuses only on the script at hand, but he always made Garbo look even better. Great costumes, great sets. Typical period piece.
Becky Sharp (Rouben Mamoulian 2/10
Two English girls navigate the social systems of England during the Napoleonic Wars. Holy crap, this movie is awful. Miriam Hopkins, a very good actress (but certainly not here), deserves a better film and performance for her Oscar nomination. The whole movie is loud. And not in a "we have new sound technology! Look at what we can do" loud; more of a "blubber as loud as you can because another actor might be getting more attention than you" loud. Hopkins is incredibly shrill throughout. I was extremely tempted to turn this off, but I don't stop watching a film once I start it.
Tripe with good costumes and good early color work (the first three-strip Technicolor bit is all this film has going for it). I expected so much more from Rouben Mamoulian, a director I've grown to appreciate.
The Raven (Louis Friedlander, 1935) 6/10
A mad doctor turns a fugitive into a deformed monster to exact revenge on a couple promising him a beautiful new face if he goes through with it. Karloff/Lugosi pictures are always good fun, and this is no exception. While the film basically elbows you in the side and says, "DO YOU GET THIS POE REFERENCE?! AREN'T I CLEVER?!" the whole time through, it's still fun to see the homages to the master of horror. The acting is understandably cheesy, and Lugosi reciting an excerpt from the title poem is worth seeing alone for its awfulness. A good popcorn flick but nothing more.
Calm Yourself (George B. Seitz, 1935) 5/10
An advertising exec starts his own company to do the tasks no one else wants to. The film could have used the advice the title suggests, but it's still sweet matinee filler. Robert Young is funny in the lead role, but even better is his secretary played by Madge Evans. It's a role that reminds me a lot of Rosalind Russell's in "His Girl Friday" only with a little less depth and a slower script. She shines above everyone in the film. The film does get a little messy when it tries too hard to end and start several subplots, but, again, it's nice matinee filler.
The Murder Man (Tim Whelan, 1935) 6/10
A star reporter with a penchant for murder cases always stays one step ahead of the cops when a man is shot from a shooting gallery across the street. This is my favorite kind of Spencer Tracy - toned down. When he isn't yelling the whole time like in most his other films, he's really quite affecting. Dialed-back Tracy mixed with a twisty, turny script and James Stewart's screen debut make this a more than interesting film in an era filled with thoughtless whodunit films. One of Tracy's best performances.
"G" Men (William Keighley, 1935) 6/10
A lawyer put through school by a gangster refuses to get involved with the mob and, instead, works with the FBI. American propaganda at its most fun. James Cagney, in an off-kilter role, does his usual shtick with a smile instead of a scowl. Edward Armstrong is good in support, but the air gets sucked out of the room every time Ann Dvorak comes on screen. Her smoldering sexuality seeps into every crevasse on set as she gets all the best lines and the best character - and she knows she got the best part too. Other than that, the sound quality is top notch here.
Captain Blood (Michael Curtiz, 1935) 9/10
A man sold into white slavery becomes a pirate king and woos the woman who bought him. Of all the early films I've seen, this one has to be the most fun. Two hours of non-stop laughs and action in the best way. Errol Flynn and Olivia de Havilland, the overnight stars of the film, have great chemistry together - Flynn's charm is unbelievable. But even better than them is Basil Rathbone as Flynn's confidante and second-in-command. In here and "Anna Karenina" the same year, Rathbone owned the film whenever he was on set. And, technically, this film is a wonder: near perfect sound quality, eye-catching costumes and sets, beautiful cinematography. It's one of the best adventure films I've seen.
Roberta (William A. Seiter, 1935) 4/10
A singer, a musician, a football player, and the niece of a gown shop owner all come together to help one another out while the ownership of the gown shop is played for. This should have been much, much better. Not necessarily with the Astaire/Rogers duo in lead (they were perfectly fine in their roles), but Randolph Scott is a snooze in this, and Irene Dunne can do much better. The musical numbers are nice, for what it's worth, though seeing Dunne in closeup for five minutes singing "Smoke Gets in Your Eyes" in operatic style makes me want to die a little from boredom.
The Dark Angel (Sidney Franklin, 1935) 3/10
A woman marries her childhood sweetheart who is ushered off to war and put in extremely dangerous situations by his superior who is bitter about his unrequited love for the woman. Melodramatic trash. Merle Oberon is one of the stiffest, most agonizing to watch actresses ever. She's gorgeous, but that's all she has going for her. Her Oscar nod was a waste here. Fredric March and Herbert Marshall barely keep this sinking raft afloat.
Alice Adams (George Stevens, 1935) 8/10
A shy, naïve girl is reluctantly thrust into the upper crust of society thanks to her obsessive mother and a boy who loves her. I like this more than the first time I saw it years ago. Fred MacMurray is dull as dishwater here even though he looks right for the part. His performance is very phoned-in. However, there are two standouts. One is obviously Katharine Hepburn in her first truly great performance. Seeing a woman noted for such strong, independent roles play meek and frail so flawlessly is an awe to behold. She plays Alice meekness with such conviction you'd be convinced she was like this in reality had you not seen any of her other work. The second standout is Fred Stone whom I am surprised to see so few people citing. He's a marvel as Hepburn's father never succumbing to dialogue that begs him to overact. His scene where he fights with his wife is great, but any of his number of scenes with Hepburn are highlights. The whole glue factory plot feels extremely out of place at times and really hurts the momentum the picture builds up, but, other than that, it's a fine film.
Selma (Ava DuVernay, 2014) 7/10
The story of everything leading up to and the execution of the Selma marches. I'm fairly happy with this one. Its major accomplishments are its not over-glorification of Dr. King and everyone else involved. The screenplay allows everyone to be a deeply complex character with several flaws. The cast is very impressive with David Oyelowo doing more impression of King than actual acting à la Jamie Foxx in "Ray" instead of Denzel Washington in "Malcolm X."
And the first two acts are very strong. There's lots of intimate and intense dialogue between several characters you'd never expect the film to touch on. There's a small scene between Coretta Scott King and Malcolm X that could have been a throwaway scene in any other picture, but it really allows us to experience Scott's frustrations with her husband's infidelity and illuminates us on X's views. The film's soundtrack also helps usher everything along - it's a very well-curated group of songs.
And Bradford Young, at 37, did an incredible job shooting the film.
But then there are some major problems with the film.
Number one: the godawful use of slow motion. It seems self-parodistic or straight-to-the-Lifetime-channel. Its only function is to let you know that they slowed everything down to give you a couple extra seconds of cry time. Not to say the scenes they used slow motion in weren't upsetting - they just didn't need to have ribbons floating in the wind or faces falling to the ground.
Number two: holy crap, some of the acting is beyond dreadful. And I understand why this is - "Selma" tries to be "The Butler" in that it wants an all-star cast. No small names allowed. The thing is that the smaller-named people are more successful here (Stephan James as John Lewis and Andre Holland as Andrew Young were the standouts among the cast) than the larger names in the cast. Martin Sheen and Cuba Gooding, Jr. are completely shoehorned into their courtroom scene and it may be the film's biggest distractor. Even worse is Oprah Winfrey. If you thought she was bad in "The Butler" (and she was), she's even worse here. Plainly, she cannot act, at least not anymore. Every single one of her scenes is over-the-top with overthought and overwrought facial expressions. Had someone else taken the role, Annie Lee Cooper would have been much easier to sympathize with; I mainly found myself rolling my eyes every time she came on screen.
Number three: There is no third act. The film starts to get really messy in the last forty minutes or so. The biggest problem I had is that the film was doing a very good job of avoiding conventional biopic tropes, but it ends like every show on The CW or every episode of "Scandal:" dramatic music plays over dramatic looks, but this time it tells us what everyone did after the marches. The screenplay falls into the classic beginning writer's fault: show instead of tell. Instead of saying LBJ signed the Voting Rights Act with King by his side, why not show it. It could have been a really great scene even if it were small.
With that, though, the film held up very well.
The Whole Town's Talking (John Ford, 1935) 8/10
A mild-mannered ad agent is mistaken for a brutal gangster and is given a piece of paper with which to identify himself as an innocent man; the gangster gets wind of this and tries to obtain the paper for himself. Without a doubt, this is Edward G. Robinson's finest hour. His dual performance is one of the best and one strangely overlooked. He becomes each character without doing too many tics and habits to identify each man. Robinson was a very funny actor, I'm coming to realize, who never really got the potential to shine in comedic roles. Jean Arthur is also good as a snazzy, snappy coworker who expounds on Robinson's image. This is one of John Ford's finest achievements that has been left behind in favor of his, albeit powerful and awesome, Westerns.
The Devil Is a Woman (Josef von Sternberg, 1935) 5/10
A beautiful woman flip-flops between two very different men during Carnival in Spain. One of the lesser (maybe the least) Dietrich/von Sternberg collaborations, but it still has its merits. It has some really beautiful and intricate costumes (the hats! the hats! the hats!) and its cinematography is stunning. Dietrich is very miscast for what it's worth which is really odd since she works so well with von Sternberg. It's a very uneven, unbalanced performance where Dietrich seems to be playing the caricature. The screenplay is super predictable, though I'm not sure it's trying to be anything revelatory. A nice enough effort with potential to boot.
Peter Ibbetson (Henry Hathaway, 1935) 8/10
A man who wrongfully goes to prison communicates with his childhood sweetheart turned future lover through dreams. At times, it's very self-serious and borders on cheese, but this film is really something quite beautiful. It's the earliest Gary Cooper performance where he seems light-on-his-feet and not stiff as a board. He gains some elegance and bravado to keep Peter believable and interesting. Ann Harding is great opposite him; they had some great chemistry together. The real star here is Charles Lang's cinematography which is some of the best I've seen in a black-and-white film. It's stunning. I'd put it just above his work in "A Farewell to Arms." The score is gorgeous as well. A real treat.
Mark of the Vampire (Tod Browning, 1935) 3/10
An expert is sent in to make sure a man (who may be a vampire)'s daughter doesn't turn into a vampire. Even at a short 60 minutes, the film feels overlong and never really keeps interest throughout. Tod Browning always did well with eerie (and he does a fine job of it here), but the story seems to have lost all coherence and matter. It makes you wish even more that "London After Midnight" never got lost.
Annie Oakley (George Stevens, 1935) 6/10
The famous sharpshooter falls in love with her sideshow rival. While not actually exploring the woman at hand, the film opts instead for a typical Hollywood love story. She's obviously better than him and he knows it. Will she forsake her pride for his?! Nothing special. Barbara Stanwyck does a great job with what she is provided, and Preston Foster does a good job at being handsome. Fluff but fun fluff.
Inherent Vice (Paul Thomas Anderson, 2014) 9/10
A stoner P.I. investigates the the disappearance of an ex-girlfriend. Oh, man, this is going to be incredibly divisive. Those upset with the film's disjointedness A) don't understand how Thomas Pynchon works, and B) seem to praise "The Big Sleep" for the same thing. And it really is reminiscent of a stonery "Big Sleep:" A great detective flick with very little plot (or a lot of plot, depending on how you think). I think "Maps to the Stars" is the disjointed disappointment by an acclaimed director from 2014; "Inherent Vice" is smart. The film meanders in and out, obviously, as a stoner's mind works. There are hysterical moments of lucidity and hysterical moments of the absurd.
The performances are really excellent. Joaquin Phoenix is in great form as Doc Sportello. It's not a flashy role; he's expected to play Doc with quiet conviction and subtle humor. It's a very accurate portrayal of a stoner which is one of his best moves. He could have easily played Doc as a stumbling, bumbling idiot as in most films, but, as I said, the realism in his performance is a huge asset. Josh Brolin does a great job as a too-serious cop and Katherine Waterston delivers a great voice-over performance and her on-screen bits are lovely too. Some of the characters feel out of place though due to the casting. Every small role is played by a notable person, and this is fairly distracting at times especially with Owen Wilson.
Jonny Greenwood's score is one of the very best of the year too.
This future misunderstood masterpiece is on its way to becoming a cult classic, I'm thinking.
Steamboat Round the Bend (John Ford, 1935) 8/10
A riverboat captain, while racing a rival upstream, tries to find to a man whose testimony will exonerate his murdering nephew. John Ford is great directing another funny film which nearly evolves into a full slapstick feature by the end. Will Rogers is a riot in a posthumously-released performance. The film starts off a little clunky but finds its step somewhere in act two and becomes what I believe to be a silent film with words. There's a load and a half of physical comedy happening. A really fun film.
A Most Violent Year (J. C. Chandor, 2014) 9/10
An immigrant facing several lawsuits for tax evasion and sketchy business dealings deals with the rampant violence in the winter of 1981 New York. It's hard to think of a filmmaker whose first three films have been as diverse and successful as J. C. Chandor. This is easily his best yet, channeling Sidney Lumet and Arthur Penn. Oscar Isaac, whose performance starts a little off-kilter and too-channeling Al Pacino, slowly drives his way to one of the best turns of the year as Abel Morales. It's an intense, glaring look at a smaller-scale American crime empire. Chandor's biggest success is in not aiming for Morales to be a Corleone or a Soprano. He lets Morales develop naturally with bravado, gusto, and a tinge of paranoia. Jessica Chastain does a fine job as Morales' independent wife. It's definitely the most subtle work she's done and her one or two big scenes are quite captivating. It definitely goes to show the bigger freedom women of the '80s were gaining. The supporting cast is great including Albert Brooks and David Oyelowo. The cinematography, score, and credits song are marvelous.
The Imitation Game (Morten Tyldum, 2014) 7/10
The story of Alan Turing and his team's efforts to crack the Nazi code. Just slightly better than your standard, late-year biopic, "The Imitation Game" is ballasted mainly by Benedict Cumberbatch's great performance. Everything from his hulking, lumbering, almost juggernaut-ish walk to his nervous stutter breathes Turing, and this is all thanks to Cumberbatch. It's a very, very swell performance. That's not to say the film does a really great job of portraying him though. I think the film handles the homosexuality perfectly. A fair amount of people wanted it to be the forefront of the story, but the film is balanced very well. The film does get a little "the enigma isn't the code... IT'S THE MAN!!!!!!!! (clever right?!?!)" at times, but that's Graham Moore's fault. Keira Knightley is fine in a role that could've been played by anybody. The bleak British set decoration worked in favor of this film, and it's something for which I usually don't care. Again, a better-than-average biopic that doesn't break any new ground.
Into the Woods (Rob Marshall, 2014) 6/10
To retain her youth, a witch demands four hard-to-get items in exchange for giving a barren couple a child. The biggest problem with the film isn't the movie itself - it's the music. I am writing this after seeing the film ten hours ago, and I cannot recall a single song. And because of this, the film is a bit of a drag. Most modern movie adaptations have the composer add a new song or something, but this is beyond dull. However, the cast is fairly good. James Corden does his usual shtick though less buffoonish, Emily Blunt looks pretty and sings well, Anna Kendrick is gorgeous and sings well, and Chris Pine looks super handsome. Honestly, and I never thought I'd say this, but Meryl Streep was easily the best part of the film. It's the first interesting work she's done in years. It's not worthy of the nomination that it'll receive, but she was fun to watch at least. The costumes and makeup and hairstyling and other aesthetics were pleasant, but, overall, the film's a bore.
Big Eyes (Tim Burton, 2014) 5/10
The story of painter Margaret Keane and her husband who took all the credit for her works. What a mess of a film. A watchable mess but a mess nonetheless. My friend Dan Gaertner put it perfectly in saying that Christoph Waltz is acting in one film and Amy Adams in another with Tim Burton nowhere to be found. The film is very aesthetically pleasing though, and Lana Del Rey's title song isn't as dreadful as her typical music. I feel like there could be a really good movie underneath all the gunk here if they were to recast Waltz with (almost) anyone else.
Cake (Daniel Barnz, 2014) 5/10
A woman suffering from chronic pain tries to find out as much as she can about a woman in her support group who killed herself. As mediocre a film as one can get. Jennifer Aniston is surprisingly alright. Deserving of all the hype? Probably not quite so but it's definitely something interesting to behold. Adriana Barraza is the best part of the film (except for Anna Kendrick who is the most beautiful person on earth). The film is basically "Rabbit Hole" for those who don't want to brutal realism of "Rabbit Hole." It may just be the most mediocre film I've ever seen.
Pride (Matthew Warchus, 2014) 5/10
A group of gay and lesbian Brits elect to aid striking coalminers in 1980s Wales. This film would have been universally-acclaimed and won every award in sight back in the '90s. The film's problem is that it's just so sickeningly saccharine. It ignores most any problem that could (and probably did) come up. The film's cast is alright with Imelda Staunton and Andrew Scott giving the only noteworthy turns. The real star is the soundtrack which is well-curated and always appropriate. Otherwise, this is a bland film that I only watched because the HFPA deemed it wonderful.
Goodbye to Language 3D (Jean-Luc Godard, 2014) 2/10
To quote my friend Dan Gaertner: "Would anyone care about "Goodbye to Language" if it weren't directed by Jean-Luc Godard? The emperor has no clothes on and this film is wretched."
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
I watched on Logorama YouTube. Logorama is a 16 minute short that won the Best Animated Short Oscar in 2009. All its characters, as well as almost everything in it , are corporate logos. Ronald McDonald is the villain. While I appreciated the cleverness with the logos, as well as the animation in general, I have a problem with its script. That is mostly because it strikes me that Logorama lacks a real story, even for a 16-minute film; and, it really has no story arc at all. A better script could have turned the idea and animation into something truly great.
Sin City: A Dame to Kill For (2014) Robert Rodriquez & Frank Miller 4/10
Still Alice (2014) Richard Glatzer & Wash Westmorcland 7/10
The Theory of Everything (2014) James Marsh 3/10
May in the Summer (2013) Cherien Dabis 6/10
Foxcatcher (2014) Bennett Miller 6/10
Repeat viewings
The Four Adventures of Reinette and Mirabelle (1987) Eric Rohmer 8/10
The Skin (1981) Liliana Cavani 6/10
A Good Marriage (1982) Eric Rohmer 9/10
Perceval (1978) Eric Rohmer 9/10
Halloween (1978) John Carpenter 6/10
Paradise: Love (2012) Ulrich Seidl 9/10
Paradise: Faith (2012) Ulrich Seidl 9/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Captain America: Winter Soldier (2014) Anthony & Joe Russo 1/10
The Boxtrolls (2014) Graham Annable & Anthony Stacchi 6/10
How to Train Your Dragon 2 (2014) Dean De Blois 4/10
Unbroken (2014) Angelina Jolie 4/10
Wild (2014) Jean-Marc Vallee 5/10
Middle of Nowhere (2012) Ava DuVernay 6/10
American Sniper (2014) Clint Eastwood 4/10
Repeat viewings
Valley of the Dolls (1967) Mark Robson 4/10
Will Success Spoil Rock Hunter? (1957) Frank Tashlin 6/10
Wetlands (2013) David Wnendt 8/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Dumb and Dumber 2 (2014) Bobby & Peter Farrelly 4/10
Birdman (2014) Alejandro Gonzalez Inarritu 7/10
Repeat viewings
Susan and God (1940) George Cukor 6/10
Beyond the Valley of the Dolls (1970) Russ Meyer 9/10
Policeman (2011) Nadav Lapid 8/10
The World Before Her (2012) Nisha Pahuja 7/10
Citizen Kane (11941) Orson Welles 10/10
The Magnificent Ambersons (1942) Orson Welles 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
When Animals Dream (2014) Jonas Alexander Amby 4/10
Life of Crime (2014) Daniel Schechter 4/10
Into the Woods (2014) Rob Marshall 6/10
Life Itself (2014) Steve James 6/10
Repeat viewings
The Search (1948) Fred Zinnemann 10/10
Grendel Grendel Grendel (1981) Alexander Stitt 8/10
Land of the Pharaohs (1955) Howard Hawks 8/10
September 30, 1955 (1977) James Bridges 8/10
East of Eden (1955) Elia Kazan 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Some Velvet Morning (2013) Neil LaBute 2/10
The Imitation Game (2014) Morten Tyldum 4/10
Repeat viewings
Guilty of Romance (2011) Shion Sono 9/10 (Director's cut)
The Man Who Fell to Earth (1976) Nicolas Roeg 10/10
Valentino (1977) Ken Russell 8/10
The Rocky Horror Picture Show (1975) Jim Sharman 8/10
A Clockwork Orange (1971) Stanley Kubrick 10/10
The Babadook (2014) Jennifer Kent 6/10
Red Dust (1932) Victor Fleming 8/10
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982) Robert Altman 9/10
It Happened One Night (1934) Frank Capra 6/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Before she takes the plunge, a novice nun learns she is Jewish and that her parents were murdered. A sub-90 minute, black-and-white film about nuns or Judaism are usually the films I groan at because it's typical Academy fodder, but, man, something about this film is so much more than all that. "Ida" is as great a meditation on identity as any other film on the subject. Our title character, played by Agata Trzebuchowska, is timid and reserved, trying at all times to show how devoted she is to the habit. Even when she's outside the cloister with her aunt, we see she's steadfast in her ways. Trzebuchowska's lean face and simple beauty really aid her performance allowing her to usher in and out an array of small tics and expressions that drive her performance.
And even though the film is called "Ida" and is about Ida herself, the film's other lead is the most compelling. Agata Kulesza plays Ida's aunt Wanda Gruz and, without a doubt, she may be the best-written female character I've seen in years, maybe ever. She's a sea of tropes waiting to be expounded upon and we avoid them all due to Kulezsa's terrific performance. Her performance is completely astonishing in every way; I've been reeling from it since I saw it. It's otherworldly, really.
The cinematography is gorgeous too. It's both very easy and very difficult to get great cinematography out of a black-and-white film - it just depends on how original or clichéd you are. This is very well-done in that regard.
A stunning piece of filmmaking.
ksrymy, i really enjoy reading your reviews and in particular your Ida review. Reminds me a little of when I first saw the film, which is now well over one year ago.
My partner and I had been attending the 2013 Jewish Film Festival in Sydney. We had seen a number of very solid films and would have liked to see even more films but the venue is such a nuisance to get to. The traffic from our home to the cinema is often insufferable.
Ida was not programed for the festival but was added onto the festival with additional screenings of some of the more popular films shown during the three week event. We decided to see Ida though we knew precious little about the film other than it was directed by Pawel Pawlikowski who had directed some memorable film including My Summer of Love, Last Resort and The Woman in the Fifth.
It was a Monday evening on 18 November 2013 (which happens to be my birthday) that the one and only screening took place in a small cinema at 7.00. At the end of the film my partner and I turned to each other and both said WOW.
We then had to find our way out of the complex and ended up out in the street and entering the multiplex car park the way we drove in a hope of finding our car, which we thankfully did. We then drove off to one of our favourite restaurants in Sydney, a Spanish Tapas restaurant not too far home where we had a stunning meal and enough booze (and in my case prescription pills) that may have even left Wanda under the table. We talked endlessly about the film and in particular Agata Kulesza and her stunning performance.
I never would have dreamed that it would achieve the acclaim and box office success it has world wide and it has felt very strange discovering a film before seemingly anyone else on the planet had even heard of it. Nice to be proven right some times. And nice to see a film that I never pegged for financial or Oscar success to be succeeding to handsomely.
Needles to say the film holds up brilliantly on it's second viewing and Agata Kulesza and her choices are no less powerful.
By the way, I leant by mother the Blu Ray and she also loved the film, which didm't surprise me.
Also ksrymy glad you took my advice and seeked out Roza. Whilst no Ida, it is nevertheless a powerful and relentless film in it's own right and deserves a much wider audience.
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Before she takes the plunge, a novice nun learns she is Jewish and that her parents were murdered. A sub-90 minute, black-and-white film about nuns or Judaism are usually the films I groan at because it's typical Academy fodder, but, man, something about this film is so much more than all that. "Ida" is as great a meditation on identity as any other film on the subject. Our title character, played by Agata Trzebuchowska, is timid and reserved, trying at all times to show how devoted she is to the habit. Even when she's outside the cloister with her aunt, we see she's steadfast in her ways. Trzebuchowska's lean face and simple beauty really aid her performance allowing her to usher in and out an array of small tics and expressions that drive her performance.
And even though the film is called "Ida" and is about Ida herself, the film's other lead is the most compelling. Agata Kulesza plays Ida's aunt Wanda Gruz and, without a doubt, she may be the best-written female character I've seen in years, maybe ever. She's a sea of tropes waiting to be expounded upon and we avoid them all due to Kulezsa's terrific performance. Her performance is completely astonishing in every way; I've been reeling from it since I saw it. It's otherworldly, really.
The cinematography is gorgeous too. It's both very easy and very difficult to get great cinematography out of a black-and-white film - it just depends on how original or clichéd you are. This is very well-done in that regard.
A stunning piece of filmmaking.
Two Days, One Night (Jean-Luc & Pierre Dardenne, 2014) 6/10
A woman must convince her coworkers to give up a large bonus in favor of her keeping her job. This is a bit messy. The film has a ton of potential to be a giant sociological platform and discussion for the ethics of money, complacency, and friendship, but it never quite lives up to that. The film stays rather dull; in a way, it tries too hard to be realistic and this ultimately hurts the film. However, the film's incredibly accurate depiction of depression and Marion Cotillard's brilliant performance of a desperate woman leaven the film to just above mediocrity. And at least they didn't bother to throw in "If you sleep with me, I'll vote for you." That would've ruined the entire film, and, honestly, I expected it all throughout.
Tarzan and His Mate (Cedric Gibbons, 1934) 6/10
Tarzan and Jane are living comfortably in the jungle when past friends of Jane's arrive to poach ivory from an elephant graveyard. Pretty standard '30s adventure film. The effects are good and the use of live animals is quite a spectacle - you could have an entire zoo out of the animal cast. Some of the film is a bit hokey (a hippo saving a shot Tarzan? Really?), but it's all in good fun. The nude swimming scene is justly iconic and tastefully shot. It's the most artistic thing about the film. Other than that, it's nothing too special.
The Babadook (Jennifer Kent, 2014) 7/10
A mysterious figure from a pop-up book starts to haunt a widow and her son. The social media sleeper hit of the year has arrived in "The Babadook." This is just the right kind of horror film we need right now too; no excessive jump scares, not a ton of blood and gore - just a good story and some great acting. That acting mostly comes from Essie Davis whose visceral, downright frightening performance leads the film. It should be getting much more attention (and the film should be too) as it's one of the best horror performances of the last fifteen years. And Noah Wiseman as her child is something else. I have never hated a kid in a movie so much. I wanted to strangle this kid about five minutes in, not because he was bad but because he was, well, realistic. The kid screamed (and I mean screamed) "MOM!!!!!!!" no less than fifty times throughout the film. It's an accurate portrayal of a six or seven-year old boy, but it really could have been toned down for my ears' sake. Also, the craftsmanship that went into making the pop-up book in the film is unimaginable. It may be the most frightening image(s) in the film. A nice little unexpected treat.
The Man Who Knew Too Much (Alfred Hitchcock, 1934) 7/10
An English couple in the Alps for a skeet tournament have their daughter kidnapped to stifle them from revealing an assassination plot they unwittingly discovered. This is the first truly Hitchcockian sound film and the second overall; I'd say "The Lodger" was his first. Its crisp 75-minute runtime allows no time for stuffy, unnecessary subplots to ruin the film and lets the film naturally accelerate all the way to the finish. While the acting is mediocre and uninspired, Peter Lorre does a great job as the head of the assassins working in the shadows. It's more than a typical Lorre performance as he seems to really have fun with his role. I'd say it's his best work behind "M" and "Mad Love." A smoke-filled heart attack of a film.
Roza (Wojciech Smarzowski, 2011) 7/10
A deserter and Polish officer attempts to hide his identity as a hired hand on the farm of a German soldier's widow after he sees his wife raped and murdered by Russian forces. This film is gut-wrenching and brutal. It doesn't shy away or suggest what's happening in its many rape scenes; it shows you right up close how disgusting and vile it all is. It's a very bold bit of direction by Wojciech Smarzowski. The best part of the film, even better than the vivid cinematography, is Agata Kulesza. As the title character, Kulesza imbues a harrowing sense of danger and responsibility. In one scene, the Russian forces are raping a line of women and, while her peers scream and fight, she sits and takes it simply waiting for it to end. Kulesza uses this small scene to set the framework for her whole character creating a deep, intimate portrayal of a scared woman. One of the bleakest and most brutal films I've seen in a while.
Listen Up Philip (Alex Ross Perry, 2014) 8/10
An author awaiting the publication of his second novel spends some time at his idol's house while managing a dying relationship with his girlfriend. While this ain't no "Color Wheel," Alex Ross Perry continues to impress me with his realistic, three-dimensional characters. Philip is, above all things, an asshole, and Jason Schwartzman plays this perfectly. He hits all the right nerves to play a truly grating person. He puts himself before anything, and the sad part is that he knows it but doesn't realize this until he himself learns it (as per the title). And while Schwartzman is great, the best acting (and role) belong to Elisabeth Moss as his girlfriend. Moss plays Ashley with real conviction and seems to be the only person with a real moral compass. She imbues Ashley with such a quiet humility and introverted sadness that it sets her apart from the rest of the cast as well as the rest of Hollywood. A pretty good film by the mumblecore master.
The Hitch-hiker (Ida Lupino, 1953) 7/10
Two men pick up a psychotic hitchhiker who holds them hostage in the borderlands of the States and Mexico. Ida Lupino is very interesting as the only American female consistently making noteworthy movies throughout the '50s. While this is nothing truly special, Lupino manages to get some great shots in and gets great performances out of her cast. Frank Lovejoy and Edmond O'Brien do some pretty standard work, but it's the title character played by William Talman that is truly terrifying. He's menacing even in the way he looks. His contorted expressions and crooked smile disturb us at all turns. It's a remarkable performance. If the film had a stronger script, it would be one of the best of all noir.
All I Desire (Douglas Sirk, 1953) 6/10
A wayward, long-lost mother and stage actress returns to her family for her daughter's graduation and debut in the school play. While the twist is very obvious, the script usually stays on track. The supporting cast is really disappointing with only Maureen O'Sullivan giving a halfway decent performance. Barbara Stanwyck, as usual, gives a good performance as our lead. She plays her role with a mist about her and seems constantly dazed by those approaching her. Black-and-white Sirk is treated unfairly as the director's most iconic work is all in color (though "Thunder on the Hill" deserves more recognition), but I'm not even sure vibrant Technicolor could improve this film. Not bad but not great. A weaker Sirk.
REWATCH:The Sacrament (Ti West, 2014) 4/10
A concerned brother visits his sister who's living in an idealistic compound out of the country. Upon second viewing, it's not any better. The film is very spastic - it uses The Knife's "Heartbeats" in the intro for whatever reason and is really lazy in its transitions, usually word-loading the screen with terrible title cards. So why rewatch this? Because Gene Jones aka the gas station owner in "No Country for Old Men." He's really, really great as the Jim Jones figure in the film. He doesn't get screamy and preachy like you'd expect. He sticks to his "Father" nickname well. It's a turn that deserves a bit of recognition. The film tries way too hard to be Jonestown and not original in its own right. Also, the third act is awful. It focuses on how everyone dies instead of how they had lives, and that is my biggest pet peeve in all horror.
Last of the Comanches (André de Toth, 1953) 7/10
Townsfolk and a wagon train band together after several of their members are killed by the notorious Black Cloud, but when they learn the great chief is without water, they bargain with him to try and stay alive. This is a really interesting Western in that it follows "High Noon"'s trend of the heroes not becoming gunslinging badasses and takes a simpler, more realistic approach. The cast is great led by Broderick Crawford and a very good Barbara Hale. The cinematography is very captivating. The film is good in almost every sense, but it failed to really wow me with anything. If it had tiny little pushes in the right direction, it could easily be a classic Western. However, it's very recommended if you like Westerns at all.
Remember the Night (Mitchell Leisen, 1940) 7/10
An assistant D.A. takes a shoplifter home with him for Christmas when she has nowhere to go. A great and overlooked holiday film. Fred MacMurray and Barbara Stanwyck are great together (as always). Stanwyck especially so. Even the supporting work by Beulah Bondi is great. At times, the film feels a little stagey, but it doesn't completely derail the film. The script is nice and polished and the direction keeps everything moving without halt. A film I'd enjoy rewatching every yuletide season.
The Mortal Storm (Frank Borzage, 1940) 8/10
A family living in the Alps and their friend become divided when the Nazis come to power in the '30s. This film has an all-star cast - James Stewart, Margaret Sullavan, Roland Young, and Frank Morgan put in great work (Morgan especially). The film can be a little bland at parts and get kind of preachy, but Frank Borzage doesn't let that become center stage. He gets the best performances out of his cast that he can since there's nothing incredibly visually appealing about the film; actually, there's a skiing scene that's pretty cool to behold especially for the time period in which this was filmed. Not Borzage's best, and not even one of his five best, but good nonetheless.
Calamity Jane (David Butler, 1953) 8/10
After getting a burlesque performer to come to Deadwood, Calamity Jane comes more in touch with feminine sensibilities and falls in love with Wild Bill Hicock during this process. There is no reason this film should be rated so highly by me. It's a great '50s musical with lots of great color and action and shots all through its running time. It has a medley of great songs ("Secret Love" is too good - a great Oscar winner) and an even better score. But this seems to be like several other musicals of the time, right? Well, for some reason, this stands out to me way more. It's the most fun I've ever had with a musical; and I mean "fun." It's not even close to the brilliance of or filled with the pulsing emotion found in "The Umbrellas of Cherbourg" and it isn't as well-shot and edited as a film like "West Side Story," but, man, this film left me smiling the whole time through. It never got remotely boring or slow which is an upside for a genre known for its constant movement. The costumes are great as well.
And I usually cannot stand sentimental, schmaltzy Doris Day, but she is a total blast here. Whether she's being angry and frustrated or sweet and charming, Day manages to make Calamity a deep, well-rounded character.
This is a total joy.
Still Alice (Richard Glatzer, Wash Westmoreland, 2014) 7/10
A renowned linguist develops early-onset Alzheimer's and starts forgetting words. Yes, it's safe, predictable, and it's easy to spot the obviousness in some of it (a linguist forgetting words - how novel), but it's a well-acted safe and predictable film. Kristen Stewart does a career-best turn here, Alec Baldwin is great in support, but, let's be real, this film is Julianne Moore's and she knows it. Moore owns the film with an intense, very well-thought-out performance. She keeps the dreaded "Julianne Moore signature ugly cry" to a minimum and really illustrates a difficult part of this woman's life without trying too hard. It's a performance that will win her the Oscar and rightfully so. If a great actor/actress is overdue for a win, it's always a delight to see it's for a deserving performance (à la Geraldine Page).
Heaven Knows, Mr. Allison (John Huston, 1957) 6/10
An escaped marine encounters a stranded nun on a Pacific island during WWII. John Huston basically rehashes his "The African Queen" plot as a vehicle for Deborah Kerr and Robert Mitchum to shine in. Mitchum does a great job in a role he could have done in his sleep but turns it into something for sorrowful with an injection of pure bravado to keep things interesting. Deborah Kerr is very good as Sister Angela; she basically does her "Black Narcissus" bit without the excellent script to back her up. She plays a nun very well even if she doesn't quite break out of the type and create a truly interesting character. It's like she's a nun pretending to play a nun. It's very calculated. Other than that, the cinematography is beautiful and that's about it. Very standard fare.
An Affair to Remember (Leo McCarey, 1957) 5/10
A swinging European playboy falls in love with a meek, former nightclub singer on a ship as both head back to America to reunite with their significant others. I'm not as big a fan of this as everyone else it. Cathleen Nesbitt and Cary Grant are fine in dialed-in performances. Deborah Kerr elevates the schmaltzy, saccharine material enough to make the film tolerable. I thought this would be a more realistic, interesting film seeing as it is directed by Leo McCarey whom I'm almost always enjoyed. Instead, we get Deborah Kerr's character being ashamed of her third-act twist and basically dragging the movie on 30 minutes longer than necessary. I don't quite get the hype for this classic. It seems standard matinee filler almost.
REWATCH:Under the Skin (Jonathan Glazer, 2014) 10/10
How did I hate this the first time? Scarlett Johansson is great in a visceral, demanding role. The script, while a tad bland at times, is really engaging. The cinematography is superb. Johansson's scene with the disfigured man is the scene of the year.
The One I Love (Charlie McDowell, 2014) 7/10
A couple trying to rekindle their crumbling marriage stay at a guest house to patch things up when they meet... themselves? And that's all I can really say because anything more would give away just how interesting this film becomes. Elisabeth Moss has had a banner year giving great performances in indie films (here and in Alex Ross Perry's "Listen Up Philip"). She gives a very smart and self-aware performance, whereas Mark Duplass plays the opposite, ignoring the fact that something larger and more threatening is at play and, instead, focuses on the now. Of the two, I'd say Duplass is better. In fact, I'd say Duplass gives one of the best male performances of the year in his dual role. It's very obvious and common to say "he plays two entirely different people," but Duplass does something a little extra - actually a little less. He does try to make a difference between the two Ethans; instead, he only changes tics and minor outlooks. It's a very smart performance by an actor I admire.
The film does fall apart in the third act though. It tries to hard to be overly-twisty, and it gets a little out of hand. It wants it both ways in that it wants all these twists to work while still having this malingering sense of dread over the picture, and it doesn't work.
Still, a really interesting look at a modern portrait of marriage with two (or four?) great performances holding it all together.
Werewolf of London (Stuart Walker, 1935) 5/10
A rare Tibetan flower is all that keeps a scientist from turning into a lycanthrope by the light of the moon. Universal's first werewolf movie is a bit of a bore. Each of the film's cast members thinks the other is the star, so they don't really put any effort into any of the line readings. For what it's worth, the more subtle makeup (than that in the remake "The Wolf Man) and the cinematography are very nice. Otherwise, this is a snoozer.
Magnificent Obsession (John M. Stahl, 1935) 5/10
A gallivanting playboy is using a life-saving device when a well-respected doctor dies from need of the device; he later woos the doctor's widow after he feels guilty for her blinding. The melodrama here falls a bit flat which goes on to prove why Douglas Sirk is such an incredible director. Robert Taylor, in a star-making turn, plays well opposite Irene Dunne though neither are too spectacular. There seems to be no extra effort to make the film look good either. This original version is very ho-hum.
Ruggles of Red Gap (Leo McCarey, 1935) 9/10
A refined English manservant is lost in a gamble to a brash, loud, westward-bound American couple. Charles Laughton gives what may very well be the best performance of his career (though I do love him in "Witness for the Prosecution"). As the title character, Laughton's stifled giggles and sharp one-liners keep the film constantly entertaining. It's a great comedic role from an actor known for heavy drama.
And the film basically lays out what it is to be an American through the audacious, ostentatious characters played by Charlie Ruggles and Mary Boland. As the couple to whom Laughton is serving, they ache of the American spirit and follow wherever manifest destiny demands them. They're two very funny, very great performances. It's really hard to tell which of the three is really the best of the film.
A delight.
The Good Fairy (William Wyler, 1935) 8/10
After being told by her headmistress to be wary of men, a woman leaves the orphanage to get a job as a movie theatre usherette only to make bigger and more ridiculous lies to get out of situations with men. This is a very funny movie. Frank Morgan is great in support, as always, as a meat-packing magnate interested in the main character, but I'd say the best supporting player in the film is Reginald Owen as Margaret Sullavan's confidante and advisor. He's a riot when he's panicked. And Sullavan herself is great as a naïve and beautiful woman taking things far beyond her control. Herbert Marshall is alright though his dreadful beard is majorly distracting. The script is nice as well. Not quite a true blue classic but a valiant effort indeed. A film that deserves to be remembered.
Black Fury (Michael Curtiz, 1935) 5/10
A Polish immigrant becomes the center of a heated mining union dispute. Paul Muni is generally a good actor - his turn in "I Am a Fugitive from a Chain Gang" is phenomenal. But here, he's pretty hammy and over-the-top. Muni can't seem to handle the Polish accent and English dialogue very well. With that major distractor out of the way, the film is merely okay. It's got a cutesy script that should pan out the way it did especially considering the subject. It's not unwatchable, but it's nothing good.
REWATCH:The Informer (John Ford, 1935) 8/10
An Irishman rejected by the IRA informs on his friend for a twenty pound reward and starts regretting it immediately. I read somewhere that, at the time up until "Gone with the Wind," this was considered the greatest American film, and it's easy to see why. John Ford plays around a lot with angles, fog, and shadows to create a moody, uneasy atmosphere. Victor McLaglen is quite great in a well-written role; in fact, almost every role is written well and the cast do an incredible job of bringing all the literary elements together. Everyone except Una "Jar Jar Binks" O'Connor who shatters our eardrums and destroys our brain cells her whole way through her scenes. She has to be one of the worst actresses of all-time. How she was every seen as comedic relief is beyond me. Other than her, a well-made film with no special "wow" moments.
A Night at the Opera (Sam Wood, 1935) 4/10
The Brothers help usher a woman into high society while two opera singers are kept apart. I really wanted to like this - I really did. There are several great one-liners ("Your table's set for four." "My alarm clock is set for eight, but that doesn't prove anything.") as per usual, but this one is almost intolerable. Harpo's ten-minute harp solo is boring and vomit-inducing. The obligatory musical numbers here are no good. And, my God, is the love story we have to sit through absolute tripe. At least there are some good gags. This is the worst of all Marx Brothers films I've seen.
REWATCH:Mutiny on the Bounty (Frank Lloyd, 1935) 6/10
A sailor and his shipmates mutiny against the brutal and tyrannic Captain Bligh. The film has some nice tracking shots, cool sets, and nice costumes. The acting is top notch from Charles Laughton as Bligh as he seems to physically become the part of the tyrant. Franchot Tone is alright in a borderline lead performance doing nothing special to earn accolades. I do think Clark Gable, as okay as he was, was horribly miscast. Yes, Fletcher Christian needs bravado and that is Gable's specialty, but he seems so very out of place at sea, without a mustache, and in such attire. The script has some good lines, but, overall, the film isn't as strong as it should be. It hasn't held up well, though I understand why audiences and critics adored this upon release.
The Lives of a Bengal Lancer (Henry Hathaway, 1935) 5/10
In northwest India, the 41st Bengal Lancers square off against a troublesome rebel leader named Mohammed Khan. Honestly, the film would have worked better with British actors or even British accents. The straightforward American voices seem dull and lifeless and lack any kind of sense of knowledge about what is at hand. And the actors themselves are quite wooden and lax about everything. The script is weak and clichéd, and the direction is bland. The film's technical aspects are quite great though with the editing and sound work being among the best I've seen from the period.
Private Worlds (Gregory La Cava, 1935) 4/10
A female psychiatrist with a knack for helping her patients clashes with her new boss. This film succeeds in dealing with realistic portrayals of mental illness in a time when that wasn't very commonplace. Claudette Colbert's performance is a typical one for her; it feels a bit like every other dramatic role she's done. Where the film bombs is in its screenplay and basic story. The lines are cheesy, but, usually, Colbert (and her castmates like Charles Boyer, Joel McCrea, Joan Bennett, and Helen Vinson who are all good in the film) can elevate the dreck. Not here. It slowly becomes the following:
Boyer: "You are a female and obviously cannot handle big boy things."
Colbert: "But, doctor, I am very good at my job."
Boyer: "Women are dumb and cannot handle big boy things."
Colbert: "But, doctor, I am very good at my job."
... for an hour and a half.
Foxcatcher (Bennett Miller, 2014) 6/10
Two wrestling champions join a dangerous, eccentric multimillionaire's wrestling team. The film isn't mediocre because it was overhyped - it's mediocre because it's nothing special or groundbreaking. That (in)famous review describing it as a seminal masterpiece of what America is, like "Citizen Kane" it says, is no more than quote-whoring. Channing Tatum broods for two hours, so I don't quite get why he's getting any Oscar buzz. The same with Steve Carell. He plays John du Pont in a very standard, straightforward manner. There is absolutely no depth to his character even in his scenes with his mother. Carell is basically being awarded for going against type (which AMPAS loves, mind you). Mark Ruffalo is the only cast member to really make an impression on me, but that impression isn't a lasting one. I simply remember him most because he's the only cast member to look like he was trying to do a good job. And he does. Is it an Oscar-worthy performance? No. Worth a nomination? Not really. The script is alright and the editing is great, but this film is very much overrated.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
The Congress (2013) Ari Folman 7/10
WIlde Salome (2011) Al Pacino 4/10
Nekromantik (1988) Jorg Buttgereit 1/10
Killers (2014) Kimo Stamboel & Timo Tjahjanto 4/10
Abra Cadabra (1983) Alexander Stitt 7/10
Inchon (1982) Terence Young 2/10
The Sun Beaten Path (2011) Sonthar Gyal 4/10
Big Hero 6 (2014) Don Hall & Chris Williams 5/10
Repeat viewings
Predestination (2014) Michael & Peter Spierig 7/10
The Swimmer (1968) Frank Perry 8/10
The Panic in Needle Park (1971) Jerry Schatzberg 6/10
The Day the Earth Caught Fire (1961) Val Guest 6/10
Call Girl (2012) Mikael Marcimain 9/10
Purple Noon (1960) Rene Clement 9/10
Queen Margot (1994) Patrice Chereau 9/10 (Director's Cut)
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Snails in the Rain (2013) Yariv Mozer 4/10
Boys (2014) Mischa Kamp 4/10
You and the Night (2013) Yann Gonzalez 4/10
Folies Bergere (2014) Marc Fitoussi 5/10
Exodus: Gods and Kings (2014) Ridley Scott 3/10
Hockney (2014) Randall Wright 7/10
Salome (2013) Al Pacino 4/10
St. Vincent (2014) Theodroe Melfi 5/10
Mr. Turner (2014) Mike Leigh 9/10
Repeat viewing
Ida (2013) Pawel Pawlikowski 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
REWATCH:The Scarlet Empress (Josef von Sternberg, 1934) 10/10
The rise of Princess Sophia Frederica to her ascension as Empress Catherine the Great. Holy cow. I'd seen this once before and really enjoyed it, but, for some reason this time, I have to say that this may be one of the five or so greatest films ever made.
First off, you've got brilliant acting. Louise Dresser is menacing and terrifying as the aging Empress Elizabeth. She's a total monster-in-law whose quick-change facial expressions really go to demonstrate how unstable and ruthless this woman really was. Sam Jaffe, with whom some have a problem in this role, chooses wisely to play Peter as a total half-wit. It's very funny and doesn't feel out-of-place. His line readings are too great and his faces are forever burned into my mind. And, of course, Marlene Dietrich as the timid-turned-confident Empress of Russia. She imbues such a natural, home-cooked personality into this incredibly famous woman; it makes the performance so much more than a typical impression in a biopic. We get to see what Sophia fears and what Catherine desires.
This is also due to the fantastic screenplay which has to be the greatest screenplay for a biography I've ever seen. It really gets down and explores the impulses and driving mechanisms behind every character. This isn't a "greatest hits" like most biopics. It focuses on the behind-the-throne action and this is a brave choice. Also because it's realistic enough to where it doesn't seem like overblown fantasy.
And the technical aspects are more than stunning. If a lit-from-below Marlene Dietrich under a sheer four-poster-bed curtain looking longingly as her lover leaves isn't cinematography at its best, I don't know what else is. There are too many beautiful shots to name (Dietrich's hands around Lodge's back, a man's living body used as the clapper of a massive bell, and a drill coming through an eye in a painting are a few others that completely entranced me). The shadows that surround our characters make us claustrophobic in this grotesque, harlequin, stony estate in which we're being held with Sophia. The production design in this film may be the best I've ever witnessed too. It's so disgustingly lavish and horrifying. It really lends itself to the madness everyone succumbs to, at least a little bit, at some point in the film.
And, for such an early film, the camera moves about in such a glorious way. It looks as if it just floats on air and follows our subjects perfectly, sashaying through halls, inbetween trees, across long dinner tables, etc. It's incredible really.
The film is a clinic in editing as well. From early whipping scenes to wartorn scenes near the end, the film cuts, zooms, focuses on, and captures everything perfectly.
One of the most perfect films ever made.
REWATCH:L'Atalante (Jean Vigo, 1934) 10/10
A new wife, bored by life at sea, falls into the nightlife of the city whenever the title barge comes to port. Films shot this beautifully don't come around very often. Director Jean Vigo takes his time getting the most out of each angle and frame to really emphasize just how lonely and longing these characters are. Dita Parlo's sullen, sunken look is remarkable; it conveys so much more than just emotion. It conveys meaning and being. That look kills me. Jean Dasté doesn't do a lot for me, but it's not really his story, so it doesn't bother me. Michel Simon is a blast though. He brings a great relief and touch of warm heart to the film. He basically reprises his role as Boudu from two years earlier but sets it at sea amongst a bunch of cats. It's raucous, beautiful, and reminds us all of a friend we've had who's just like him. The last minute is one of the most beautifully-crafted, heartwarming, and heartbreaking things ever put to film. Stunning work. "L'Atalante" deserves all its acclaim. A rewatch I do not regret at all.
Pilgrimage (John Ford, 1933) 7/10
A stern mother, who sends her son to the military after disapproving of his wanting to marry, goes to visit her killed-in-action son's grave in Europe. I hadn't read too much on this before watching (a female-driven John Ford film is enough to hook me), so the (un)shocking twist actually got me. The film's title should've given it away, but I was too dumbfounded and lost in Ford's filmmaking to think about it. The rural landscapes and sets are perfect in aiding us understand out main character. And she's played beautifully by Henrietta Crosman who imbues or heroine with such vitriol that fades slowly into regret. It's a wonderful performance. Maybe the most impressive part of it all is that it doesn't (entirely) fall into the sentimental old-person-takes-a-trip movie. Sure there's a pretty useless scene where granny visits a carnival and fires a gun at the shooting gallery, but, really, Ford keeps the story on this one woman and how she manages the torment of having sent her son to his death.
REWATCH:The Thin Man (W. S. Van Dyke, 1934) 8/10
A hard-drinking couple attempt to solve the murder of the title character. Nary a film couple has come close to the charm and charisma of Nick and Nora Charles. They're electrifying even when they're saying sweet nothings. The fact that they're absolutely hammered the entire time makes it all even better. William Powell was only ever more charming in "Jewel Robbery," and I don't think Myrna Loy was ever better - they make beautiful, full characters out of Nick and Nora when the script just calls for a typical Hammett murder mystery. The supporting players are alright, falling into stereotypes of the roles they're given. Really though, focusing on anything other than Powell and Loy is foolish. Great couple or greatest couple?
Viva Villa! (Jack Conway, 1934) 7/10
The story of notorious Mexican bandit and revolutionary Pancho Villa. As usual, Fay Wray is horrible. With that out of the way, the film was a pleasant surprise. Wallace Beery gives one of his best turns as the title character. It's a hearty, cocky, smartly self-aware performance which endears us to the sly Villa. His death scene is so incredibly well-done - I don't think I've seen one like it in some time. The costumes are nicely-detailed, the cinematography is elegant yet rugged, and the framing roams like the plains so frequently showcased. A nice little surprise of a film.
The Count of Monte Cristo (Rowland V. Lee, 1934) 8/10
The classic revenge tale of a wrongfully-imprisoned man disguised as a count to worm his way into his enemies' inner circles. This is the best version of the film that I've seen. Robert Donat, usually so nice and just, is a delight here as a man with a real mission. His charisma is palpable and omnipresent. He has both humanist and self-serving airs about him at all times that really pinpoint what Dantes is all about. Donat gets the complexities of the character down pat. And aside from him, the film is a banquet of lavish set pieces and wonderful period costumes. A real treat. One of my favorite adventure movies.
REWATCH:Of Human Bondage (John Cromwell, 1934) 7/10
The classic story of a club-footed medical student's on-again, off-again relationship with a shrewish gold-digger. The film is handled well, for starters. It seems to be the right pace even though a few scenes drag or could be omitted entirely; most translations of famous novels try to leave the poeticism in without making the effort to capture it in the cinematography in small, sadly wasted scenes. Performance-wise, the film is captivating. This may be Leslie Howard's best work. He's very convincing in his role and plays it with such a sad, confused demeanor that you feel genuinely sympathetic for the guy. Even after his club foot is righted, he's still incredibly hobbled by his love for Mildred. And Mildred, good God, Mildred Rogers. What a shrew! I remember disliking her when I saw this originally, but, holy cow, she absolutely infuriated me this time around. And this, of course, is owed to Bette Davis's incredible turn. Do I agree with the then-contemporary review out of "Life" that says her performance is the greatest captured on film?: no. But it sure is captivating. Davis plays a real monster. It's easily one of her best turns.
Despite the great acting, the rest of the film does feel flat for the few reasons I mentioned before and due to some of the supporting players acting like they're in comedies.
And one more quick thing: Kay Johnson is marvelous in the few scenes she's in. Just wonderful.
Twentieth Century (Howard Hawks, 1934) 8/10
An insane stage director tries to earn back a neurotic actress he drove off to Hollywood so his new show won't flop. What a hoot! Great actors giving great performances doing poor performances. Carole Lombard is quite good fun as the nutty Lily Garland. The performance is a lot of screaming and yelling, as is Barrymore's part, but the major reason it works is due to the incredible screenplay full of acerbic dialogue and a surprising amount of humanism in a film about such scoundrels. And back to Barrymore, this may be John's finest hour. I wasn't head over heels for his meta work in "Dinner at Eight" like most others are, but this right here is a role any actor would kill to have. Barrymore gets to channel every negativity from his career into Oscar Jaffe who is an absolute monster in the most delicious way possible. A real actor's film - the very definition of one, I'd say. A good romp.
The Merry Widow (Ernst Lubitsch, 1934) 7/10
A prince from a small country woos a widow to keep her money in the kingdom. A typical Lubitsch/Chevalier/MacDonald production: it has nice songs (a jukebox musical featuring the music and lyrics of Lehár and Hart), nice costumes, stunning sets, and enough charm to make Cary Grant blush. MacDonald's acting, as usual, isn't impressive. Chevalier's very fun to watch - you can see how full of himself he is. Lubitsch adds his signature touch to the film to make it sexy and funny. Nothing new if you've seen Lubitsch but worth a view nonetheless.
Evergreen (Victor Saville, 1934) 7/10
A daughter, born out of wedlock, poses as her mother for a comeback revue despite her falling in love with whom the public believes to be her son. I wasn't expecting this to be as great a story as it was. It's good to see, in a time full of them, that a baby-born-of-wedlock story can be original. A lot of this is due to Jessie Matthews' great dual role as both Harriets. Her musical numbers are great, yes, but it's her acting that impressed me the most. She makes clear distinctions between the women while playing them in a very similar manner, and I think that is the most wise way to play the women. The costumes are also well-crafted. One of the better backstage dramas of its day, plus it feels like it's right out of a British music hall.
Man of Aran (Robert J. Flaherty, 1934) 6/10
This ethnofiction regards a family who lives and works on the Irish isles in the title. Man, oh, man, where to begin? The film is beautiful shot and edited - this is expected of Flaherty. It creates a real sense of being there but at a distance as if we're watching these people in an ant farm. The story, though not engaging, doesn't really matter. In a way, this is a travelogue. My main problem with the film is its use of sound. It would have been more becoming of Flaherty to keep the film silent. It's creaky and use of sound really threw me out of the film. Maybe it's my fault that I was expecting a silent feature, but it was not handled well at all. It seems like it's being narrated by a really uncreative person who just saw their first episode of "MST3K" a week ago and is speaking it all from the seat next to you. Other than the major faults with the sound and my little caring of the family's fate, the film is another impressive feat in on-location photography.
One More River (James Whale, 1934) 5/10
A lady leaves her brutal husband for a man she meets on a ship. "Love at sea" seems to be a popular recurring theme in the '30s, so this is no exception. I like "One Way Passage" much more, but this one is alright too. James Whale does a great job directing this film and getting just what he wants out of it; it was his personal favorite of all his films. And, much to my surprise, Diana Wynyard is dynamic and dazzling instead of being her usual stiff self. She plays her character with a laid back charm and ease that is very becoming of her. And Colin Clive does great in a smaller role as her brutish husband. There's not much else to look at - Whale offers up a story and we hook on. Not a great film, not even a good film, but a decent romance at the very least.
The Scarlet Pimpernel (Harold Young, 1934) 6/10
An English aristocrat leads a double life as the mysterious Scarlet Pimpernel who tries to thwart Maximilian Robespierre's Reign of Terror. The problem with this is that it was a film from 1934. Early years in film weren't ever really great at sympathizing with the psychology of a woman; because of this, we really miss out on a lot of good, juicy story. It instead focuses on the Pimpernel himself. Not that it's inherently bad for doing so because Leslie Howard is a treat in the role. It's the most relaxed and playful I've ever seen him. Even better than him, though, is Raymond Massey as our lead antagonist. He's quite funny and quite scary in a well-written role. Apart from the acting and the middle-of-the-road direction, the costumes and sets are a real eyeful. The editing is also crisp. A decent film that would be better had it been made twenty, even ten, years later.
Imitation of Life (John M. Stahl, 1934) 6/10
A widow and her housekeeper deal with racial identity and love when they become famous for a pancake mix. While the film is nowhere as great as Sirk's version of the film (then again, how many films are as perfect as that one?), it's still well-done. Louise Beavers is touching in a role deeper, more well-written, and better performed than Hattie McDaniel's Mammy in "Gone with the Wind." Beavers, while dealing with a very big stereotype, manages to flesh out a truly brilliant performance. And her daughter, played by Fredi Washington, is great too if a tad stoic and over-melodramatic (is that a thing?) at times. Claudette Colbert is charming and well-cast, but Warren William is not. You half expect him to sleep with both Colbert's and Beavers' daughters several times throughout, and it really showed in his acting. It's unlike any other role I've seen him in. The sets are great, and the costumes, though simple, are very apropos and elegant. Good but not anywhere near great.
Our Daily Bread (King Vidor, 1934) 4/10
John and Mary Sims, the protagonists from King Vidor's acclaimed film "The Crowd," are hit hard by the Depression and move west to farm with a group of other people. This had a ton of potential, but it got thrown away as soon as the film became the American equivalent of a Russian propaganda film. The film just shows the glories of communism and how great it is instead of creating a truly engaging narrative. Karen Morley is great as usual, but it's Barbara Pepper as the city woman (a combination of the Woman from the City in "Sunrise" and Jean Harlow) who really steals the film. She makes every scene she's in worth watching. And while the script is pretty terrible, the end scene in the manmade river is shot and edited so well that it's easy to forget the first hour of the film is near intolerable at points.
Maps to the Stars (David Cronenberg, 2014) 5/10
An aging actress, an outrageous child actor, his parents, a burnt assistant, and a chauffeur all intertwine in Hollywood. This isn't industry satire; anyone who says so is ridiculous and puttering along with the critics. This is outright hatred for Hollywood. Cronenberg crafts an interesting, although not entirely successful, narrative with a few okay characters and one great one. The great one, of course, is Havana Segrand played wonderfully by Julianne Moore. Trying to resurrect her, as the teens in the film refer to her, "geriatric" career by starring in a remake of one of her mother's films, Segrand is given surprising touches of empathy throughout though we are not supposed to like her one bit. Moore plays her brilliantly containing her hysterics and ugly cries instead of using them the whole film through like the script really wants. Mia Wasikowska is bland as ever as is Robert Pattinson and John Cusack. Olivia Williams has a couple engaging moments though her fate is pretty ridiculous. With tighter direction, a better cast, and much better writing, this could have been one of Cronenberg's best.
Birdman (Alejandro González Iñárritu, 2014) 10/10
A Hollywood actor famous for superhero films desperately tries to reinvent himself by adapting a Raymond Carver story in addition to directing, producing, and starring in it. This is a major, major achievement in film. The way the camera casually pans around yet manages to stay very precise in its direction is astounding. The single-take style of the film is gorgeous and helps us realize the thinness of the boundaries between reality and fantasy in Riggan's mind. The film is a film for actors, a film for director, a film for writers, cinematographers, editors, and everyone else in between.
Michael Keaton is astounding in the lead role. Even without the whole meta aspect of his being Batman and tanking after, he is still pitch perfect in the role of Riggan Thomson injecting him with a certain pathos that really surprised me. And even with Keaton shining, there's still the supporting cast. This is the kind of cast that puts almost every single other movie ever made except "Nashville" to shame. I've never seen a group of actors jell so well together. There's Zach Galifianakis shows that, with proper direction, he can actually be quite a good actor; he provides a moral compass and bubbling anger to the scene. There's Emma Stone who has one hell of a stunning monologue lambasting her father (and the look she has after she's done and regretted saying it all killed me). Her entire role is fairly worthless, but she makes it a real force of nature. There's Andrea Riseborough who, in a really small role, shines every opportunity she gets. There's Naomi Watts who hasn't been this great in a decade. There's Amy Ryan who adds the much-called-for heart to the film in a tender, beautifully-written role.
And then there is Edward Norton who gets to play a mix of Norma Desmond and Dorothy Michaels/Michael Dorsey in what has to be the most purely fun and entertaining role made this year. Mike Shiner is a very complex character, but Norton makes it look so simple and easy to play him. It's a physical and emotional performance full of bawdy and witty humor. Had "Whiplash" and J. K. Simmons not been out this year, the Oscar would most definitely be his.
And the cinematography is a character in an of itself. This Lubeszki work makes "Gravity"'s cinematography look like a dumpster fire. Such smart weaving and whipping and trailing. It's everything right that "Elephant" did wrong when it comes to following people. The film has walk-and-talks that Aaron Sorkin would blush at.
This film has been the only thing I've really been thinking about for days now and for good reason. So far, it's the best film of the year.
Whiplash (Damien Chazelle, 2014) 9/10
A jazz drummer at the world's foremost academy struggles to meet the demands of his brutal teacher. This is absolutely exhilarating. It's a film like this that reminds me why I love jazz so much in the first place. The film's music is impeccable, obviously.
Miles Teller gives a visceral performance in his best work to date. But don't let anyone tell you this film is about anything other than J. K. Simmons who gets to eat up all the delicious scenery for two hours. Simmons is remarkable. What's more, he's most impressive in his quieter scenes than he is when he's frustrated. He also gets some great lines that would make Gunnery Sergeant Hartman blush. It's a very real, emotionally-realized performance that is deserving of all the praise it's getting.
The film is an absolute blast when it comes to editing. The slow, long cuts away from the studio perfectly convey Andrew's, and our, view on the music and austerity of the Shaffer Conservatory. Sadly, this is the kind of film AMPAS will ignore in the Editing department come Oscar time. Here's hoping they pull their heads out of their asses.
My only problem with the film is that it is entirely unrealistic for Fletcher to push Andrew as hard as he did. He says he doesn't want bad players because it reflects on his reputation, yet he's willing to jeopardize everything in front of Carnegie Hall to let Andrew play. Some of the writing doesn't really add up in instances like this; however, there are some brilliant scenes (Andrew and Fletcher talking over a drink at a small jazz club, for one) that really stand out and make the film a glimmering ruby of an indie film.
Gone Girl (David Fincher, 2014) 9/10
A man fights to defend himself from a media circus when his wife disappears. That sounds like several movies that come out each year, but this is so much more than that. Nary a false note is hit, but I'm going to start with a few faults I found in the film.
I think Neil Patrick Harris was poorly cast. His body language and overall presence didn't fit the mood of the film at all. Also, the meet-cute encounters and dialogue between the couple during the opening half-hour seemed really forced and unnatural. It's like ABC Family original movie bad. Nick just comes onto Amy all suave and debonair and amazing without any pauses or minute breaks in dialogue. It was the biggest fault in the writing, and there are a couple others throughout that were annoying as well.
The story itself though. Man. I think this may be the most engaging narrative I've experienced in years. It's rare that my eyes stay glued to a film the whole time through. Usually I'll roll my eyes or look away during a stupid scene, but this one had me thrilled throughout. One of the main thrills, apart from the story itself, was that this is, quite literally, the first Ben Affleck performance I have not actively disliked. He was a really great choice to play Nick. When he's not behind the camera, he doesn't get to play narcissist, and this lets the story flow so much better. And even with Affleck giving a good turn, it is really the girls who run this film. Rosamund Pike is stunning as "Amazing" Amy Elliott Dunne. It's a real harrowing portrayal of mental illness, manipulation, and sheer power. It's the subtle motions of her lips and eyelids that really pulled me in.
But if we're talking females here, the highlight in a film full of highlights has to be newcomer Carrie Coon who is perfect as Nick's sister Margo. Roles like these are why supporting Oscars were invented. Coon takes what could easily be a throwaway role as the sister who helps Nick through it all and turns Margo into a powerful, three-dimensional character. She delivers the razor-sharp dialogue perfectly too. Also, props to costuming for those glasses - they could not have been better for her character.
And then we come to David Fincher himself who is having a blast behind the camera culling all the techniques from his other films to create this. It's also refreshing to see the film isn't clouded in FincherChromeTM cinematography.
A film definitely worth seeing.
The Gay Divorcee (Mark Sandrich, 1934) 6/10
A society woman in the process of divorce mistakes a man's actual affection for acting when he unwittingly gives her a secret password to expedite the split. Pretty typical Rogers/Astaire fare. They'd be a little more tolerable if Astaire could act and sing. Don't get me wrong, the man can dance like no other, but those other two aspects really damper the whole film. The deus ex machina ending is eyeroll-worthy too. Despite those two things and Rogers' blandness, the film is a great showcase of costumes, sets, and supporting characters. Edward Everett Horton is charming and lovely as always, and Eric Blore is nice as a waiter who clears the whole thing up. I did find Erik Rhodes's Italian man annoyingly stereotypical (spoiler: he loves spaghetti). A charming film that cannot quite overcome its leads, though, obviously, they'd come into their own in next year's "Top Hat" and, even later, "Swing Time."
The Affairs of Cellini (Gregory La Cava, 1934) 6/10
A sculptor has an affair with the Duchess of Florence while her daffy husband philanders as well. While the script wanders and misses a lot of comedic marks, the film is still delightful. Fay Wray is pretty much worthless and all the scenes she's in aren't nearly as humorous as the rest of the picture. Constance Bennett's glamour matches the delicate, beautiful set pieces as she's the only one of the four principal actors to really make us feel like we're witnessing high society. Fredric March is good in another rare comedic role; maybe the most intriguing aspect is that March is almost unrecognizable with long hair and a moustache. But, with those three mentioned, the picture belongs to Frank Morgan who is an absolute treat as the bumbling Duke of Florence. It's one of the better bumbling idiot characters I've seen from this period where every comedy seemed to shoehorn one in for production value's sake. Morgan takes the one-note role and turns it into something that makes the picture worth seeing.
And even with all these performances and the shortcomings of the script, the film's costumes and sets are gorgeous. Just enough to make this film more than mediocre.
Charulata (Satyajit Ray, 1964) 9/10
A lonely housewife finds a renewed shot at love when her workaholic husband invites his cousin over to keep her company. This film, more than any other I can think of, uses the sense of scent best. The smell of wet ink, the smell of food, the smell of a person. And the film wouldn't work with any actress other than Madhabi Mukherjee who is astounding and heartbreaking here. This film is subtle to the point that it would make someone like Yasujiro Ozu blush. Its balance of rich simplicity and sophistication is incredible and mostly reinforced by the gorgeous set design. A very human tale. While it is by no means Satyajit Ray's best work (that will always be "The Music Room"), it is still a shining example of the brilliance that radiates out of Indian and Bengali cinema.
It's a Gift (Norman Z. McLeod, 1934) 7/10
A grocer inherits an orange grove in a windfall from his dead uncle. This isn't even so much about that plot as it is the goofy gags that get us to the end of the film as is typical of W. C. Fields films. And while the film is good fun, the gags sure to stay way past their welcome. They run themselves into the ground fairly quickly even though they are pretty funny in the initial minutes. I also see no appeal in Baby LeRoy, so his second billing astounds me; I'll chalk it up to novelty. Kathleen Howard is good as the nagging wife.
The Goddess (Wu Yonggang, 1934) 8/10
A mother turned prostitute fights the prejudices of those around her and the attentions and demands of her unhinged pimp. Another year in the '30s, another east Asian film, another mother/prostitute who unconditionally loves her son. Whether it's pre-Code America or any period of east Asian cinema, that story is one of the most overdone. With that, it's incredibly hard to make it seem vibrant or touching. Films like "Mamma Roma" have done it best, but, here, "The Goddess" proves it's among the highest echelons of this type of story and film. This is mostly due to Ruan Ling-yu's stunning performance as the, in a way, title character. And the title's irony and colloquialism is a nice touch too. Joining Ruan in indelible acting is Zhang Zhizhi as her brutal pimp. Every second they are together is a thrilling one. The two actors really take time to craft their characters and motivations onscreen. The music set to this one is, without a doubt, one of its biggest aspects too; with moving crescendos and staccato percussion, the music really brings something special out in this silent.
Death Takes a Holiday (Mitchell Leisen, 1934) 6/10
Death takes human form to understand why everyone fears him so much and falls in love on the way. While the film itself is kind of lightweight, though not without plenty of potential, the performances are pretty great. Fredric March's turn as the humanized Death is great. Some critics find it awkward, but I think that's the way it needs to be played. Death has no experience as a mortal, so his stumbling through parlor-room politics is very funny. Guy Standing is also great in support as the Duke whose estate on which the events happen. The film feels stagey and rushed in spots, but, overall, it's a good, fun film.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
