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La région centrale (1971)
At times breathtaking, but the sound...
Note: It's pretty impossible to give an adequate number rating to films like this.
If you're reading this review, you're probably familiar enough with Snow to know what to expect from this film. I had seen a number of his other avant-garde classics, but was told this was his magnum-opus.
Like Snow's other structural works, on paper this may sound tedious: a 3 hour exploration of a landscape. But the movement, while slow at first, becomes breathtaking and even exhilarating. I never got as bored as I had expected, and I didn't have a problem with watching the film, but the sound started to get to me. After 90 minutes, I had to leave and take a break. It's not a deliberately assaultive soundtrack as some other films I've seen, but the repetitive mechanical noises, one of which sounds like a telephone ring, must have been the perfect tone to make me deeply uncomfortable and cause a headache. Part of that could also be that I was listening to these on a tiny, old speaker.
Dear Zachary: A Letter to a Son About His Father (2008)
"I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on."
Dear Zachary Dir. Kurt Kuenne ***** "Perhaps it's done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on."-Samuel Beckett, The Unnamable That final sentence, from one of the great novels of all-time, works here as a description of the heart and soul of this film, the best I've seen all year. Kurt Kuenne sets out to find all there is to know about his murdered friend Andrew Bagby after talking with friends who knew parts about Andrew's life that he never told Kurt. Shortly after stating this endeavor it is revealed that the woman who killed Andrew is also pregnant with his son. Kurt then decides to make the film into a memorial to give to Andrew's son, Zachary.
This is a film that is a search for its filmmaker, a search which ultimately finds itself asking the most unanswerable of questions. The unfolding of the events surrounding the search cause Kuenne to revisit his approach, his interview subjects, and allows the audience a personal look into an artist trying to make sense of the impossible (in fact, the film was never meant to be released except to family members).
Nearly a decade in the making the film compiles years of interviews with dozens of people who knew and loved Andrew, as well as through a number of home videos. Part of makes this a stunning example of art as process, is the fact that Andrew starred Kurt's home made movies growing up, and we see footage from those films, where we see even then the use of film being used to make sense of the world.
The amount of footage, interviews, and information comes at you early and quickly. The audience becomes immersed in the lives of Andrew's family; knows the information when the family knows it, and experiences the events as if they were one of Andrew's friends. An outsider may have been tempted to manipulate the audience, but Kuenne's approach is earnest and admirably restrained. He obviously cares about his friends, and is nothing but charitable to them by his representation (or non-representation in some cases) in this film. That said, Kurt doesn't pretend not to be involved himself. He keeps in narration where he gets emotional. He lets you know that he is frustrated and furious, and that at times he doesn't know where to turn.
This is one of those rare films which is an experience. I cannot remember the last time I was so viscerally effected by a film. Not just in tears but going through a wide range of palpable feelings, some clear cut, some frustratingly ambiguous, and leaving me haunted, purged, shaken. The film allows us to experience with Andrew's parents a diverse and difficult range of emotions. You will be angry, sickened, hopeful, humored, devastated, inspired, awed, depressed, and everything in between. At times you'll want to throw up your hands and say: "I can't go on!" It shows us humanity at its most evil, yet, without being sentimental, shows us how life can go on in the face of incomprehensible horror.
I don't know if I've seen another film which so effectively conveys the impact of the loss of a human life. A shot early on in the film catches a quick glimpse of ripples in a water, and this film looks at those ripples instead of focusing on the initial cause of those ripples.
And in the end, when the film comes back to the filmmaker, on his experience and his journey, in a recap of what we've experienced with humanity in microcosm throughout the film, its a devastating turn which displays the brilliance in the film's structure, despite it appearing a bit haphazard on the surface, all along.
I don't know whether to tell you to read more about the film or not. I've tried not to tell too many details because for full effect, and to do justice to the filmmakers experience you need to let this film wash over you. But I also don't know if some of the more sensitive viewers will make it through this film unprepared. Maybe this will suffice: this is not an easy film; the best never are. But like Becket's Trilogy, by looking through at life through the most hopeless of situations, somehow those who experience the work come out stronger, more human. Victor Frankel's early title for Man's Search for Meaning was "A Case for Tragic Optimism." That is this film.
read more reviews@ floydfortnightly.blogspot.com
States of Grace (2005)
the kind of film that reminds you of the transcendent power of the medium
Richard Dutcher has outdone himself once again, this time making an LDS film that will most likely alienate, if not offend most of his viewers. In the end, this is a film about Grace. Not the "after all we can do kind" that many LDS people like to believe in, but the real Grace, the kind that at times is difficult to believe in or accept for some people. Dutcher shows his skill at subtext, something missing from most LDS films, and nuance, something missing from all film. The tension he creates is masterful, and the film is very uncomfortable, especially at how ambiguous right and wrong seem. The problem is Dutcher has one character too many (see if you can figure out who I'd cut out), and tries to show too much. In fact the nuance he uses in the first 2/3's of the movie suddenly turns to obvious and repetitive symbolism. However, this is the kind of film that reminds you of the transcendent power of the medium, that sticks with you long after you see it, and reminds you your responsibilities as a human being. Like Crash, which it feels a lot like, while it is a flawed masterpiece, it is a masterpiece nonetheless, and a film that as many people as possible should see.
New York Doll (2005)
the best film made about the Mormon experience
As the LDS church is a church of converts, this is the best film made about the Mormon experience thus far. The documentary feels rushed, and rough, but that immediacy adds to the sudden reappearance of Arthur Killer Kane, former bassist for the New York Dolls, now working in the LA Family History Center, and trying to come to grips with his life before a reunion show. Whitely seems to be uncertain how objective he will be during the course of the film, and that hurts it a little. But what is mots startling is the breathing room he allows the viewer. There is so much going on in this film and in each character that it seems somewhat overwhelming. The didactic of Mormons as outsiders, even to cross-dressing punk rockers, and vice-versa is terrific, and David Johnanson's version of a "Poor Wayfaring Man of Grief" is one of the best moments in recent transcendental film. The ultimate problem is that the film is too short, and doesn't confront all that it needed to. But it still is an incredibly moving character study, and a film about second chances.
Walk the Line (2005)
It's life and Energy Transcends Forumlaic Structure
It's strange that someone as unique and original as Johnny Cash would have a movie made about his life that is so formulaic-it was almost scene for scene the same outline as Ray. However, Mangold does something here that most Bio-pic's don't. He narrows the subject matter down to two plot lines, often ignoring other things that would have been interesting, or cool to put in. At its heart this is a love story-a film about the redemptive power of love, true love, problems and all. At the same time its also a film about redemption in general. This is due in part because of a great script, and incredible performances. Phoenix is amazing as Cash. He is not just impersonating him, but adds a level of depth. Robert Patrick was also surprisingly great as Cash's father. But its Reese Witherspoon who steals the show, mostly because I forgot she could act. While the composition of the film is nothing new, the cinematography is gorgeous, and the editing is great. In fact everything about the film is great technically. However, what makes this such a great film is its energy. There is a life to this film that transcends its formulaic nature, and adds a level of emotion that is more than just from the memory of the man in Black. Mangold, Phoenix, and Witherspoon create complex and beautiful characters that we care about, and love despite their faults. And that is the beauty of Cash's life and the message of this film-that Love, from God, from each other, can save even the worst of us, despite of ourselves.
Day of the Woman (1978)
I Spit on this Movie
I am not one for hyperbole, or lists or such for films, but I agree with Ebert (for once) that this is the worst film I've ever seen. The film is awful; there is not one aspect of the film that even justifies its existence. The story is forced, the direction heavy-handed, the plot is ridiculous, and it feels like the makers decided to change it from a porno to a horror film in the second act. The film doesn't have any sort of meaning, yet because it tries for meaning doesn't even make good theatre of cruelty, or something of a naturalist piece. The worst thing is that the film isn't bad enough to be campy, so it is utterly joyless. There is nothing enjoyable or worthwhile in this film. Outside of the lead, the acting is utterly horrid, even for a low-budget horror film. I watched this expecting something disturbing and shocking, but really the most shocking thing was that I wasted my time on this. It's not really that disturbing by today's standards. Even by the standards when it was made, when compared to The Last House on the Left, or Dilverance, which are both superior films, and more disturbing, it isn't effective. If you want to see a notorious video nasty see something like Cannibal Holocuast, that at least says something and has some value.
War of the Worlds (2005)
worst Spielberg in 20 years
OK, so I haven't gotten soft. This is easily Spielburg's worst film in 20 years, if not his weakest work ever (1941 not included, I think everyone let that one slide). What little interest the film creates in the viewers in the first ¼ of the film, mostly by sight and sound, quickly disintegrates into a complete mess of failed characters, character arcs, and writing. The special effects and camera work were OK, but nothing compared to Minority Report. Tom Cruise is terribly miscast as a dock worker and the world's worst father, Tim Robbins character has no reason to be in the movie, and Dakota fanning just screams for and hour and a half. The ending, which was pushing it when it was originally read in 1896 just comes up lamer here, with a sappy Hollywood touch that doesn't even try to mean anything but make you feel good. There are three signs that this was a sub-par movie. 1) is that it was boring, I saw people look at their watches a number of times, and a couple even went out to take a cell phone call. 2) The biggest, is making you miss other movies that are better. Signs still is the best alien invasion movie, any of the "Dead" movies are better end of the world films. This made me even want to watch Independence Day, or the 1950's version of War of the World's, both pretty mediocre films. 3) I noticed flubs as the film went. If all of the electronic devices won't work how is a guy tape recording it? As well as just some stupid logic that somehow no one seemed to think twice about
Dawn of the Dead (2004)
If you liked the original at all-stay away from this one
One sure sign that your remake of a cult-classic and near campy 1970's horror film is bad, is that you make the film you're trying to improve upon look more like a masterpiece, and your film like unintentional spoofing. That is the case with this film, that starts out wanting to be taken seriously, and lost me quickly with a strange choice of music with The Man Comes Around by Johnny Cash during a title montage of apocalyptic footage borrowed from your local Fox affiliate.
This film really only has the same idea as the original, everything else is newer. This time there are more people who stay alive (and die) in a shopping mall (though much of the film is outside, taking away the claustrophobic fear of the original) while zombies, that are fast and with a virus (ala 28 Days later) eat people (not the mysterious reason in the Dead series). For those who always thought fast zombies were scarier this movie proves otherwise. Seeing a zombie run is actually funnier than scary. Perhaps that worked in 28 Days Later because it was mostly in the dark, but in daylight it doesn't work. And this film misses all of the important points of the original classic.
Gone is the hellishly creepy and dirge like atmosphere, and the social commentary on decadence and racial issues. Another aspect this film loses with fast zombies is that they are now killing machines, not almost sympathetic near humans that aren't all too different from us. The dialogue is just dumb, and the plot is as well. The only part I did like was the addition of a gun-store owner who is trapped on a near by roof, but they manage to mess that plot line off also. Gone also is the character development, bumped up from 4 people to about 20 or so, most of whom we never get to meet before they get eaten.
Unlike the original this film stays away from philosophy, and is much shorter, about half as long, as Romero's version. The action is almost boring, it's not scary, and in many ways this film is more vulgar than the original in handling death scenes. The violence and gore was extreme and unnecessary in the first, but here it's just profane. You'll see what I mean. I doubt that you can say Romero's direction was sympathetic, but it was more thoughtful than in this one. And a happy ending? Come on, it's a zombie movie! Quick List: Best Zombie Movies
Gin gwai (2002)
Surprisingly Spiritual, Highly Effective Horror Film
This is one of the most unique horror films I've seen in a very long time. That's saying a lot since the film is essentially the Sixth Sense. After receiving a cornea transplant a blind woman begins to see terrible images, and has reoccurring dreams of a strange place. Or is she just adjusting to seeing for the first time? The film is incredibly smart, and it is incredibly creepy. There are no crazy noises or jumpy scenes like most horror films. This is pure tension poured on throughout the film. What makes this film special is that while it is effective in being creepy, it is a life-affirming and spiritual film. I don't think I've ever seen a Chinese film that is so blunt about Buddhist beliefs. In fact the Buddhist house cleansing is both interesting and creepy. The Pang Bros. do a terrific job of making sure this is above everything a pretty film, and it is. Even the horrible disaster in the film is shown in a humane and sympathetic way. This film is being remade next year in the States. Though I doubt they'll keep the overt spiritual themes. The ghosts are not harmful, just restless. Also, this is the second coolest death I've seen in a film, behind the Seventh Seal.
Ray (2004)
Ray: Powerful yet Lacks Direction
If there was any film this year I should have connected with it was this one; a biopic of one of the most influential musicians of the past half-century. Yet, I left the theater rather disappointed. The film mostly concerns itself with Ray's inner demons, which alone would have been a good film, mostly associated with the death of his brother and his Heroin addiction, however the film ventures into so many other uncompleted topics (his affairs, the controversy of his music, his part in the civil rights movement, racism, the treatment of blind people, parenting) that the film unwinds into a troubled mess. While Fox does such a pitch perfect job of being Ray Charles that it's scary, Sharon Warren, who plays his strong mother, really gives the strongest performance in the film. The technical aspects of the film are near flawless, though some of the 1940's like elliptical editing to show his road tours was questionable, and the last 10 minutes seems like it was put together in a half-hour. The ending doesn't resolve much if anything, and we're left to find out what happened through the de-facto post script. This film could have been great, and while it's commendable that it shows the bad sides as much as the good (one of the best faces of addiction I've seen in film), its lack of a theme is what this film lacks desperately.
Elf (2003)
Takes a nose-dive the last 15 minutes
I was pretty cynical about watching this movie, but not having anything else to do, I did, and was quite pleasantly surprised by the terrific and innocent feel of the first half of the film, as well as some great performances by Farrell and Caan.
But something must have happened with the studio, or the script because the last 15 minutes spirals into a terribly contrived and generic Christmas film. Its worth watching just for Farrell, and the magical first half.
Saints and Soldiers (2003)
Probably the best made film under $1 Million
The comment posted on the main page link certainly had an axe to grind against mormons. In fact the film itself never at all mentions the LDS church and for all we know Deacon could have been a baptist. That is all besides the point. The film takes us where a war film has never been before, the religious implications. And it is not overtly preachy. Somehow with under $1 million dollars the director has made a film that looks like an epic hollywood war film, complete with handheld cameras and a few war buddy cliche's. But what seperates this film from the pack is its main character, a devout religious sharpshooter, shellshocked from a raid gone bad, trying to make moral sense of what is going on. The film is also a great war film, and impecably accurate historically. The only sign that the film is low budget is its musical score, which at some times is a bit obtruse, but the acting is superb, and the directions is excellent. 9/10
The Ring (2002)
Holy Cow
One of the three scariest movies I've --------------------------------------------------------------------------------------------- ever seen, behind--------------------------------------------------------- The Exorcist and Suspiria, -------------------------------------------------------------------- this is an incredibly creepy film, and the most fun horror film I've seen in years. Don't watch it alone and turn the phones off. ----------------------------------------A great idea and visually stunning.
The Naked Kiss (1964)
Fullers most powerful work
If Sam Fuller is the father of Independent film then this is the point where the history of the Indie film begins. However, unlike most of Fuller's work this is not overtly shocking or wordy. In fact its best sequences are those which have no words. The acting, by mostly B actors is terrific, and the dialogue is well done. It tackled an issue that no film had before, and perhaps has not done so well since. A teriffic work.
Charade (1963)
One of the Most Entertaining movies I've Seen
This film is astonishingly entertaining, one of those movies thats so fun to watch that you admire its energy as much as its great music or acting. The acting and cast is superb, with Cary Grant in a role perfect for him. The plot is out of a Hitchcock script, and it feels that way in ever scene. The dialouge is crisp and snappy, with some very memorable lines. The music, by Mancini, is a classic. If you want a soild, entertaining film with something for anyone with eyes this movie is for you.
Joey (1985)
A movie thats so awful it should be funny, but is rather disturbing.
This is a movie that should be funny, as are other campy horror films. Yet, this little film aimed at kids, with star wars/ET references everywhere, is rather disturbing, and while I didn't know it at the time makes my disdain towards Emerichs "work" even stronger. Don't show this to kids, it will traumatize them, don't show this to anyone else, its doesn't even make sense on drugs.
Five Easy Pieces (1970)
Probably the best American Film Nobody's seen
Great acting, perhaps Jack's best and most natural, outstanding direction, and a great screenplay make this lush, harsh, and incredibly well thought movie a classic. Not to mention the diner scene. If you love movies, you've got to see this one.
Zelig (1983)
In its own odd way, it may be Woody's most personal film
In its own odd way, it may be Woody's most personal film, this mockumentary about a meek man who wanted to be liked so much that he physically changes himself to be like the people he is around. A grand view of the '20's, and all of its great and terrible figures, with, of course Zelig having part in most of these events. This moving comedy, with a few classic Allen lines, has to have been the predocesor, if not the influence for "Forrest Gump". Yet, this is more sublimely romantic, and moving, done, like Allen himself, quite, and threw a camera lens.
Napoléon vu par Abel Gance (1927)
A Masterwork far ahead of its time
Easily and hands down one of the most comprehensive, visually impressive films of all time. With its camera work, coloring, and know-how you'd think the film would have been made in the '60's. The restoration shows just how great the direction is, and while it is 7 hours long, there have been few films made about a single persons life that are so compelling and comprehensive.
Greed (1924)
The Forgotten Masterwork
Easily one of the 5 best and most important film works of all time. Long, yet lyrical, hard to watch, yet pretty, experimental and also painstakingly technical. Had the film been released properly, even its restoration lost 1 hour, we could talk about this in place of Citizen Kane, and sadly both directors had the same fate.
Faces (1968)
the film that changed the face of cinema
Yes, its sometimes hard to watch, slow, and oft times uneven, yet, this sensitive, and heavy film is probably the most important American film made in the last half century, as it started a whole generation of independent filmmakers, who adopted, like this film, an international, artistic quality, and put it onto screen.
City Lights (1931)
The Birth, and best Comedy/drama.
This may not be Chaplin at his funniest, but this is his best work. Combining pathos with an endearing strength of humanity it is shattering, tear jerking, and beautiful. It is an example of what comedy can be, how it can be used, and how its marriage with drama can work. The final scenes are both shattering and heartwarming and perhaps one of the most romanticly brilliant in film history.
Life as a House (2001)
a peice of non-comital junk
Ok so the producer of Rocky makes an American Beauty rip-off with no social commentary, that flips as easily as a pancake into a lifetime movie in its second half. The film seems like something Robin Williams probably rejected, and Penny Marshall was unavailable for. A waste of time, and luckily not a whole lot of talent.
Waking Life (2001)
Like no experience you will ever have watching a movie.
As stunning visually with its revolutionary and surprisingly low budget animation, as its intelecual value this is the film that most lyrically puts the mind frame of the year 2001 into a visual and smooth work of art. Films, dreams, and well, life are discussed in a manner like none other; part quasi-documentary, and part Spike Lee feel, this is a time capsule, a film to be watched, and treasured for the ages.
The Straight Story (1999)
One of the best American films of the last 30 years
David Lynch, takes a break from disturbing us with post modern art, to make a Norman Rockwell peice with a bittersweet bite. Making this even more sad was the untimely suicide of its 73 year old stunt man turned star shortly after the oscars. It is as heartfelt and sincere as any movie you will ever see; It is quirky, somewhat depressing, and as beutifully diverse as America, and the landscapes it so movingly captures.