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Endeavour: Muse (2018)
A seaon premiere that leaves an indelible impression
Starting with Endeavour Morse being a dropout at Oxford, one of the themes of the series focuses on debunking the mystique of the arcane and hypocritical system and culture at this legendary institution. The barbaric debauchery of self-proclaimed educated elite depicted in this episode no doubt defies comprehension, and the payback was equally unimaginably ghastly.
Charlotte Hope certainly stole the show. The protracted duel between Eve and Endeavour had enough poignancy and wattage to outshine the rest of this remarkable episode.
Arrival (2016)
Just remember this is science fiction
For a generation who has probably never even heard of Fellini or Antonioni, this could well be a confusing or boring film. For those who find it appealing, do try to read the original story "Story of Your Life" by Ted Chiang.
Flashbacks have become common practice in movie making. Admittedly, flashbacks sometimes made a film, but the technique has been over- used in the last decade in attempts to elevate the "artistic" element in movie making. In "Arrvial", such segments are in fact not flashbacks per se. One of the key idea in the movie (as well as the short story it was based upon) is about our own conception of time (and time "travel", into the future). The most significant verbal interchange in the entire movie occurred early in the movie, between the characters played by Renner and Adams, that brought up the Sapir- Whorf hypothesis, that language could potentially be what constrains our thoughts, and thus our intellectual, psychological, and sociological endeavours.
Ted Chiang, as I remember vaguely, has written elsewhere about the possibility of a language which is deterministic, in the sense that the first "word" uttered could determine the entire "sentence" to come. I think he was drawing on certain logographic/pictorial language that tells an entire story with one "picture" - in the film, they made an attempt to portray how they decipher the alien language, showing the "translated" English words around the alien symbols. (Notice also that the aliens did not trace/draw those symbols in a sequential fashion, the entire symbols somehow resolved from some "random" swirl of ink, and when Adams tried to mimic the symbol, she said she couldn't do it using both hands - because she was conditioned to a sequential mode of language processing.) I think Chiang's original idea, which the movie also attempted to capture, was the notion of a nonlinear dimension of time, which hinted at the aliens' ability to somehow "forsee" the future - they told Adams that they were trying to help humans now so that we humans can in turn help them when they will be in trouble in a few thousands years.
Adams, having been initiated into the alien language, no longer perceived time in a linear fashion, hence all the apparent flashbacks, which were merely snippets of her consciousness which were no longer bound by the normal progression of time. In Chiang's short story, Adams was writing/telling the story of her child's life (before it was born) when the future was already "known" to her, which hearkens back to what she said in the movie about "...despite knowing the journey... and where it leads... I embrace it. And I welcome every moment of it."
All in all, I think this is a well-made movie, with some novel ideas (for a change). Amy Adams did a great job portraying the protagonist - it WAS her movie. Jeremy Renner was believable in a supporting role. The bit about non-zero-sum game and international cooperation is a welcome message in today's polarizing world politics and religious fanaticism. One could also surmise the fact that Adam's character was "blessed" with the "gift(weapon)" of the alien's language was due to her willingness to approach them, first by taking off her protective suit, and subsequently in running out to the alien ship when the evacuation order was issued - here is a faint echo of Chiang's notion that an initial gesture (word) can determine the course/outcome of an entire interaction (sentence), from the start.
A final word for those who voted thumbs down outright: our ability (including my own) to comprehend this movie, or the original story of Chiang, might well be tempered by our own individual linguistic idiosyncrasies. A movie to be watched more than once.
The Captive (2014)
Disappointing
I recognized the name of the director, turns out I've watched two of his movies before, "Where The Truth Lies" and more recently "Chloe", (neither of them memorable). My impression was a director trying to reach beyond himself. "The Captive" is not any better, and I actually want to say something about it.
First of all, the movie flip-flops on the time-line arbitrarily, almost to the point of "testing" the audience's ability to track the narrative amidst all the "flashbacks". Whether it was the director's ploy to create style or atmosphere, the end result is just unnecessary confusion and frustration. Many of the plot twists were implausible: The most glaring one was when the experienced lead detective "exposed" herself to the predator online, despite her assistant/boyfriend's attempt to stop her. Was stepping right in front of the webcam in the middle of a video-chat session an attempt to scare off the predator, or challenging him to a show-down? Having exposed herself, she then blithely attend a public charity event to showcase her efforts to combat such cyber-crimes. (Of course she was promptly kidnapped for further entertainment of the predator.) Then the audacity of the predator is beyond comprehension, and he totally deserved to be shot. Allowing the "captive" to meet with her father was supposed to be an ego-trip, or some kind of "death wish" to surrender or get caught by the police.
The one trick in the movie, where the daughter dropped a hint for the father to catch the predator, was handled so clumsily and obviously that it never created any suspense for enjoyment. Finally, it left wide open the possibility of complicity of other "conspirators" without any hint at resolution.
Overall, this movie fell flat and failed to interest me.
Interstellar (2014)
2001:A Space Odyssey with some human drama thrown in
By the twenty-first century, all of the elements in this movie are already old-hat. So, in a sense, the movie starts out at a disadvantage compared to the groundbreaking classic from the creative minds of Arthur C. Clarke and Stanley Kubrick. One can't decide whether Nolan is paying homage to the old master, or plagiarizing: e.g., the docking sequence and the man-machine relationship. The inherent conflict between HAL and its creator/colleagues was hugely thought-provoking whereas the Minecraftsque robots ARE robots (especially vis-a-vis the self-serving Dr. Mann), while the last, "hold-your-breath", docking choreography just could not measure up to the majestic original sequence.
There were a few highlights/high-points though: "Once you're a parent, you're the ghost of your children's future." and "Now, we're just here to be memories for our kids." The quotation from Dylan Thomas - "Do not go gentle into that good night; Old age should burn and rave at close of day. Rage, rage against the dying of the light..." Last but not least, "Love (the human spirit in a larger context) is the one thing we're capable of perceiving that transcends time and space (and gravity)."
Whereas "2001" was much more intellectual and detached, "Interstellar" packed in a jumble of human emotions and dramas, but like the rest of the film, felt loosely cobbled together and vaguely unsatisfying. But I do like the poignantly portrayed reunion between father and daughter, and the hinted one with the younger Dr. Brand.
Tecnica di un omicidio (1966)
"Professional Killer"
That was the title when I saw it a long, long, time ago, and I would still rate it one of the best "assassin/assassination" flicks, before "The Day of The Jackal" (1973), etc.
I can hardly remember the details, and hope to see it again, soon, to validate the reason why it has stuck in my mind for so long. Robert Webber was very effective in the role, and the detailed treatment of the "sniper" action made the movie. Many aspects of the film have become recurring themes in a whole lot of movies that came after.
For the time being, I gave it 7 out of 10, until I can have a chance to view it again.
Disconnect (2012)
The irony of an increasingly connected world (through the internet)
The premise of the movie is by now no longer fresh, but all the actors put in believable performances. The tragedy and irony of the "instantly connected" nature of the personal and social experience of modern day society, by virtue of the ubiquitous internet, is that individuals are in fact more and more "alienated" and "disconnected" from a psychological and social perspective.
Information travels "at the speed of light" on the internet, and what happens behind the (computer) screen is often not fully comprehended by the participants, often until it is too late, with unintended and potentially disastrous consequences.
The juxtaposition of four main story lines provided an unfolding plot with some elements of mystery and suspense, making it a rather "watchable" movie.
For me, what packed a devastating punch was the final confrontation between Nina, the reporter, and Kyle (the kid she was trying to save). Conscious intentions and subconscious motivations are often disparate, and could be perceived in an entirely different light by the protagonists involved.
Finally recognizing Michael Nyqvist from the original "The Girl with the Dragon Tattoo" trilogy added a little icing on the cake. (I liked his portrayal of the Blomkvist character better than Daniel Craig's.)
Lawman (1971)
Gone are the days of the black and white hero vs villain
The theme of "Lawman" is neither unique nor new, The "Last Train From Gun Hill (1959)" starring Kirk Douglas and Anthony Quinn came to mind right away, and before that "The Man From Laramie (1955)" with James Stewart, although both of these also involves an element of personal revenge which, in turn, brings back to mind another string of memorable movies from "The Bravados (1958)", "Nevada Smith (1966)", "Hang 'Em High (1968)", "Valdez Is Coming (1971)", "Jeremiah Johnson (1972)", to another Michael Winner film "Chato's Land (1972)".
There is a whole lot of violence in all these movies, and Michael Winner seemed to be paying homage to the spaghetti westerns. Kudos to the script writer for the many noteworthy lines. The much anticipated ending came with an unexpected twist, leaving the audience to figure out the punchline of the movie.
The aging cast of Burt Lancaster, Robert Ryan, Lee J. Cobb brought back quite a bit of nostalgia from the glory days of Hollywood. Recognizing David McGiver from "Breakfast at Tiffany's (1961)" brought back a chuckle, and Robert Duval, whom I first noticed in "The Rain People (1969)", was still at the beginning of his prolific career.
I do miss those good old days...
The Counselor (2013)
A cautionary tale with unnecessary gore and sexuality
My interest was piqued by the 3 male leads, and to a lesser extent the director, but it turned out to be a disappointment.
In essence, this is a moral tale about a semi-decent lawyer who got greedy and had to pay dearly for his mistake. The irony was that he was inadvertently "betrayed" by an act of kindness/compassion. This could have been a classical masterpiece, on the level of ancient Greek or Shakespearean tragedies, but degenerated into an overwrought, perverted vehicle of cheap gore and sex. Frankly, I find the morality hard to swallow, being preached by some drug-trafficking mafia don. Instead of a cautionary tale of tragedy and irony, what hits you between the eyes is the utter ruthlessness, cruelty, and evil of the criminal world.
The writer's lofty aspirations backfired, in my opinion. The moral tale was laid down, it seems to me, by a number of questionable characters, a diamond expert, a middle-man of sorts (a "respectable" man of legitimate standing but with connections to the criminal world), and the crime lord (an evil person who wants to teach me "every action has consequences" and "mistakes cannot be undone"?) To hear high-sounding "sermon" coming out of the mouths of sleazy characters is just ludicrous.
Hearing a description of the brutality and sex is already quite enough, to add those extra scenes of indirectly explicit sex and explicit gore is certainly overkill, to the point of revolting.
What a waste!
William Vincent (2010)
Atmospheric artsy film
Captivating performances from all 4 main characters. Josh Lucas was sinister and scary without histrionics. Julianne Nicholson, somehow reminding me of Shirley Maclaine, was "beautiful" in her own way, freckled and refreshing. the doomed damsel in distress. Martin Donovan was the only likable character, the muscle with a heart. James Franco played the central character, William/Joseph, literally a lost soul in limbo, with a questionable background, who cheated death narrowly by chance, was living on borrowed time, and left to ponder the "meaning" of his existence/life and why he was spared. My take is he was still marking time until he met and fell for Anne, the sex slave of the sadistic and manipulative crime boss. William never had a chance, yet it seemed like he might have found a shred of reality to hang on. The poignant ending belongs to William, Anne and Victor, who still had their souls. "Boss", on the other hand, became merely a footnote.
The sparse dialog and the artsy cinematography were note-worthy. The mood and melancholy strains of the soundtrack was a bit jarring at times, but might be intentional to go together with the microcosm surrounding the unsavory lives of the four main characters.
Definitely a film for film-lovers.
Last Summer (1969)
A thought-provoking tale of the loss of innocence
I read this haunting tale by Evan Hunter in the late 1960's, and felt numb afterwards. It was a devastating story, but came across honest and true. I wasn't aware that it had been made into a movie until much later, but never felt compelled to "revisit" it, until it turned up on TV (TCM, I think) recently.
The movie did capture the essence of the novel, unsupervised (neglected) adolescents from well-off, dysfunctional (hinted), families spiraled out of control when their ambiguous and budding desires fed off each other in a vicious circle, culminating in something akin to evil. The psychological and sociological overtones reflected the zeitgeist of the sixties - sex, drugs, violence, and the mob mentality.
The sexually suggestive scenes and the violence was tastefully done, necessary but not exploitative. This film was definitely targeting a more mature audience, but surely will not unduly shock or traumatize the precocious youths of today. Nevertheless, portions of the story are unpleasant enough to discourage repeated viewing. In any case, the message is potent enough to come across loud and clear just going through it once.
For the more inquisitive viewers who might wonder whether the worst had happened to Rhoda, I suggest a reading of the excellent book by Evan Hunter. ("The Blackboard Jungle" and "Mr. Buddwing" are among the films based on his books. In fact, he wrote a sequel to "Last Summer", aptly named "Come Winter". He was also well-known in another genre under the name Ed McBain.) In retrospect, I wish I had not read the novel before I saw the movie. I always prefer watching the movie before reading the book (if there is one). In my opinion, the medium lends itself to greater dramatic and emotional impact, and provides a more primal sensory experience, but there are invariably certain elements in a book that no motion picture can convey.
I suspect my rating for this film would have been higher had it not been for the unpleasant and unresolved emotions and thoughts it provoked, but did (could) not provide any hope or closure in the ending.
The Place Beyond the Pines (2012)
Less than satisfactory
I happened to like both Ryan Gosling and Bradley Cooper, and both of them put in a good performance. However, the story is just not compelling enough, nor totally believable. What kind of corrupt cops would try to set up the son of a judge? Granted he was supposed to be a rookie, but a rookie with a law degree! And given the obvious discomfort and hesitancy of the supposed pawn, how did he ever manage to pull off that sting operation?
The first of 3 "acts" was by far the best. Yes, people living at the "fringe" can still have a conscience, showing decency and goodness, even though they have been dealt a bad hand. A similar theme underlies the director's other collaboration with Gosling in "Blue Valentine", which I like much better than this one.
Worth mentioning is the character of Jake (I think, the one who took Luke in and brought him into the bank robbery capers in the first place). He tried to stop Luke from destroying himself, but who could stop a runaway train?
Before Sunset (2004)
A PERFECT little gem of a movie
Very little about this movie prepared me for this absolutely delightful film. Ethan Hawke isn't one of my favourite actors, I had never heard of Julie Delpy, nor the director Richard Linklater, before.
I have watched the movie twice. Actually I wasn't fully paying attention when I watched it the first time, but starting with Jessie (Ethan Hawke's character) fielding questions about whether his novel is autobiographical, it got me good, and never let go for one second; up till the very last scene where Jessie said "I know". Fade- out. One of the most remarkable thing about this movie is the continuity. The whole movie felt like it was just one take, lending it such authenticity and immediacy. Of course, I had to see Before Sunrise afterwards; and I must say that I like this second installment a whole lot more. Before Sunrise is much more "ordinary", and I don't know whether it is because I watched Before Sunset first. In fact, I might end up thinking Before Sunrise is superfluous. In other words, in a way I wish I had not gone ahead and watched Before Sunrise.
This is not so much a love story. To me, a love story can only be told, in whole, afterwards, with a definitive ending. This film is more about romance, and feelings. It may yet develop into a love story, if there are more installments to come.
The film should not be compared with epic love stories like Doctor Zhivago, but surely can stand on its own merits as an example of a "perfect" movie.
Finally, as I was brought up in a "gentler" age, the few instances of the f-word did jar my sensibilities, but I can put all that down to context, given the world we are living in now.
The Horsemen (1971)
A film to be enjoyed on big screen
Of the handful or so films directed by John Frankenheimer that I have seen on big screen some 40 years ago, two of them had stuck in my mind. Grand Prix was, in my opinion, by far the best, and The Horsemen was a very close second.
Both of these films can only be fully appreciated on BIG screen. It was so long ago, I don't remember all the details; but starting with the opening credits and the aerial shots, it was a captivating film. I remember recognizing Frankenheimer's name the very first time - I wasn't that much into the names of directors when I saw Grand Prix.
The film had a raw, animalistic, beauty. The ethnicity and culture of the people reminded me of Taras Bulba. I would love to experience this film on big screen again.
Les aventuriers (1967)
A haunting beauty of a movie
Watched this when I was a teenager. One of those movies included in my bucket list. I daresay there has never been a more handsome face than Alain Delon, and his brand of aloofness and detachment was enthralling. Joanna Shimkus was simply enchanting. It was unfortunate that she retired too soon. I also remember the lyrical score, only vaguely because at the time I didn't know anything about movies other than the actors.
Most of the details have long faded from my memory, but two particular sequences have stayed with me: the burial at sea was magical and moving, and the final aerial zoom out shot gave me something akin to an out-of-body experience. These might have been beautified by the mind like aging memories, but I would very much like to have a second viewing to see if my memory has been playing tricks with me.
Melody (1971)
A forgotten gem
I had to go through hoops to find this entry on IMDb, so please "file" it under the original title of "Melody" also.
Watched this when I was in college, what a wonderful nostalgic piece. The music of the BeeGee's, "First of May", Crosby-Stills-Nash-and-Young's "Teach Your Children"; and the image of the two kids riding away on the trolley will stay with me forever.
It was so long ago, I don't feel comfortable adding more specific comments, but what a sweet little movie. People who took issue with the content on grounds of morality and such nonsense should just stay home and not watch any movies. I can still remember some of my classmates criticizing the movie for being unrealistic and irresponsible!
The Last Valley (1971)
Unforgettable movie
Watched this when I was in college. The brutality and hypocrisy of man just hit you like a ton of bricks. The cinematography was breathtaking, even though most of the images were drab, grimy, and dark. It was not a pleasant experience, but eye-opening; and it is for this reason that even though I bought a copy of the DVD about 10 years ago, I have not been able to bring myself to watch it again.
As pointed out by others, John Barry's score was out of this world. At the time, I had only known him for the James Bond movies, then he gave us his masterpiece: "Out of Africa". He is right up there together with Maurice Jarre and Michel LeGrand. Coupled with the animated opening credits, it was the one jewel in the film that I don't mind watching again and again.
A solid cast: Michael Caine and Omar Sheriff, and the beautiful Florinda Bolkan. Director James Clavell is very talented, recognized his name in the opening credits when I watched the movie - having just read his novels "Tai- Pan" and "King Rat".
Not for the faint of heart.
Interlude (1968)
A sublime love story
"... and they lived happily ever after." Those kinds of love stories are usually found only in storybooks, while many more memorable ones are of the tear-jerker variety. What makes this one stand out is the subtlety, sensitivity, and absence of high drama, yet every bit of the movie tucks at your heart-strings.
"Interlude", what an apt title. The beginning sequence of two drivers, their knowing glances, the haunting lyrics sung by Timi Yuro, presented a perfect lead-in to a nostalgic flashback of an extra-marital liaison for the protagonists, (or at least for one of them). In hindsight, it might have been inconsequential - the marriage was not destroyed. In fact, both of them are now apparently leading reasonably happy married lives. Yet there is a very tangible sense of loss, (of love, of innocence), a wistfulness. Does one ever completely recover from affairs of the heart that had gone awry? There is this unforgettable exchange at the end of the movie: (Stefan)"...you know there are, still quite often in the mornings, when I, wake up and expect to see you...", (Sally, looking up, tears gleaming in her eyes)"I have the lamp in my house now..."
Oskar Werner was the perfect embodiment of a suave, sensitive, egotistical, successful, but lonely, conductor. His understated portrayal should not be mistaken for what some might label a "woody" performance. On the contrary, he oozed class, sophistication, and a certain cynical worldliness, which belied his basic decency and loneliness. Yes, he had fame and wealth, a beautiful and dutiful wife, and family, but he was not happy. He felt trapped and burdened, emotionally wanting, which was why a fresh, young pretty face became a welcome distraction in the first place. Besides, even as a man, his almost "boyish" charm came across loud and clear, and one can easily see how a naive young girl falling for him. The entire "interlude" was very credible, even natural. Remember, it was not at all a love at first sight, and one gets to savour the unfolding of the romance.
I thought Barbara Ferris was quite wonderful in this movie, (and I can understand why one of the reviewers wrote that he had a crush on her). I appreciate the contrast between the more matured, polished, Sally and her youthful, carefree, and vulnerable characterization when she first met Stefan. The initial "courtship" scene was delectable, mousy Sally fluttering around the apartment, then clumsily serving tea; and finally the ingénue succumbed to the charms of the older and more sophisticated Stefan. The image of her in that puffed-sleeve dress is infinitely more attractive than any of those outlandishly "alluring" wardrobes of today, (or any day). Wondered why she wasn't in more movies. I think it is not quite fair that many reviewers said hers was a weak performance. I thought her portrayal of the awkwardness, and naïveté (as long as she had not seen Stefan's wife, she could "deceive" herself into believing that she was not real, and assuage her own guilt) was spot-on, providing a contrast to Oskar Werner's character. Someone even suggested that Julie Christie might have been a better choice, but to me, Julie Christie would possibly come off too sophisticated in the role.
Virginia Maskell played the role of the dutiful and well-bred wife so well with relatively little screen time.
This was one of the few movies that made me go back for a second viewing in the cinema when it came out. I have always wanted to revisit it all these years, having missed it once on late night TV. It was only yesterday that I found it by chance on YouTube, and it was still as fresh and affecting as I remembered it. The music score and Timi Yuro's title song were a perfect complement to the motion picture. This time around, I even picked up on the quotation from John Donne, and the Adagio from Tomaso Albinoni (which I have grown very fond of, but hadn't realized was included in this movie).
P.S. I just found out a remastered copy is now available on Amazon!
P.P.S. This was on ThisTV the beginning of 2014.
P.P.P.S. I think there is a general release DVD from Columbia Pictures now, saw a copy of the DVD in a local public library collection in 2017.
The Prisoner of Zenda (1952)
Timeless tale of adventure and romance
Based on the novel of Anthony Hope, it was a tale of mistaken identity, leading to adventure, romance, and unrequited love. Stewart Granger played the title characters, a tourist who resembled the king of a fictional country, and was recruited to spoil a plot by the brother of the king to take over the throne and a fair princess, played by the beautiful Deborah Kerr. James Mason played the young henchman of the villain (who eventually sought revenge in the sequel to the novel, aptly named "Rupert of Hentzau". I have often wondered why the sequel had not been made into a movie also). It is an old-fashioned tale which probably won't stand up to the modern criterion of credibility, yet touches on old-time values of integrity and honour. As one might have guessed, romance ignited between the "imposter" and the fair princess. In the end, the young lovers took the high road as the movie ends in a heartbreaking farewell.
La congiura dei dieci (1962)
Unadulterated fun with a G rating
The last sword-wielding swashbuckling adventure starring Stewart Granger that I am aware of, (two others that came before were "Scaramouche" and "The Prisoner of Zenda"). If you enjoyed the relatively recent "The Mask of Zorro" with Antonio Banderas, Catherine Zeta-Jones, and Anthony Hopkins, you will not be disappointed with these classics. Granger was one of the few actors - besides Mel Ferrer and Basil Rathbone, possessing convincing fencing expertise. I have always preferred his movies to those of Errol Flynn. Captivating sword fights, handsome heroes and beautiful heroines, smart and humorous dialog without the vulgarities permeating the movies of the last few decades. Sylva Koscina was beautiful with an attitude. Christine Kaufmann was just eye-candy, possibly intended as a contrast to Koscina.