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Sarah (7800 KP) rated Memento (2000) in Movies
Nov 29, 2020
One of my favourite films
Film #5 on the 100 Movies Bucket List: Memento
I have to admit, I may be a little biased when it comes to Memento. Christopher Nolan is my favourite director and Memento is both one of my favourite films of his and one of my favourite films of all time. For me, this undoubtedly deserves its place on this bucket list.
Memento is a 2000 psychological thriller starring Guy Pearce as Leonard Shelby, a man suffering from anterograde amnesia searching for the person responsible for the death of his wife, using notes and tattoos to organise his thoughts.
One of the most noticeable features of Memento is the fact that half of the narrative is told backwards. The movie begins at the end, focusing on a rather gruesome Polaroid photograph that fades rather than develops and a victim of a shooting coming back to life. The rest of the film jumps backwards a few minutes at a time, each scene ending where the last one started. For a film about memory loss and amnesia, this mechanism of telling the story really helps put us in Leonard’s shoes. It makes you feel as confused as he is. On the original dvd release, there was a hidden feature that allowed you to play the film in chronological order and this just didn’t have the same impact. These reverse scenes are interspersed with black and white flashbacks of Leonard earlier in his wife’s murder investigation and his life as an insurance investigator, which really help with the exposition. These paired together alongside a haunting score make for an intriguing and not your run of the mill murder mystery.
There are some great performances in this that also help increase the intrigue. Carrie-Anne Moss as the apparently helpful Natalie and Joe Pantoliano as the questionable sidekick appear new to Leonard every time they meet yet their loyalties and motives waver for us as the viewers throughout the film. And Guy Pearce manages to portray the frustrated and not as innocent as he first appears Leonard incredibly well, and holds this film on his own for most of the run time. They’re helped by a clever and smart script that flawlessly blends the sinister and rather dark criminal aspects of this with some surprisingly funny lines.
This story starts at the end so you don’t have to worry about how it turns out, but despite this Memento still comes up with a rather cracking twist and denouement. This entire film is about time and memory and how unreliable it is, and the lies we tell ourselves about our own identities. Even during this, what we thought we knew about Leonard as the black and white flashback meets the backwards story, is revealed to be completely unreliable and quite shocking. Without revealing too much, the outcome of this film is both surprising, sinister and rather emotional, and features some of the best dialogue of the entire movie. Leonard’s actions and motives revealed here and the final voiceover as he drives off makes for a hugely satisfying ending.
I first watched Memento in a psychology class at college around 17 years ago. I loved it then and in the years since, it hasn’t lost its appeal. Watching it back now still evokes the same emotion and feelings when the credits roll as it did all those years ago and will always be one of my favourite films, even possibly my all time favourite.
I have to admit, I may be a little biased when it comes to Memento. Christopher Nolan is my favourite director and Memento is both one of my favourite films of his and one of my favourite films of all time. For me, this undoubtedly deserves its place on this bucket list.
Memento is a 2000 psychological thriller starring Guy Pearce as Leonard Shelby, a man suffering from anterograde amnesia searching for the person responsible for the death of his wife, using notes and tattoos to organise his thoughts.
One of the most noticeable features of Memento is the fact that half of the narrative is told backwards. The movie begins at the end, focusing on a rather gruesome Polaroid photograph that fades rather than develops and a victim of a shooting coming back to life. The rest of the film jumps backwards a few minutes at a time, each scene ending where the last one started. For a film about memory loss and amnesia, this mechanism of telling the story really helps put us in Leonard’s shoes. It makes you feel as confused as he is. On the original dvd release, there was a hidden feature that allowed you to play the film in chronological order and this just didn’t have the same impact. These reverse scenes are interspersed with black and white flashbacks of Leonard earlier in his wife’s murder investigation and his life as an insurance investigator, which really help with the exposition. These paired together alongside a haunting score make for an intriguing and not your run of the mill murder mystery.
There are some great performances in this that also help increase the intrigue. Carrie-Anne Moss as the apparently helpful Natalie and Joe Pantoliano as the questionable sidekick appear new to Leonard every time they meet yet their loyalties and motives waver for us as the viewers throughout the film. And Guy Pearce manages to portray the frustrated and not as innocent as he first appears Leonard incredibly well, and holds this film on his own for most of the run time. They’re helped by a clever and smart script that flawlessly blends the sinister and rather dark criminal aspects of this with some surprisingly funny lines.
This story starts at the end so you don’t have to worry about how it turns out, but despite this Memento still comes up with a rather cracking twist and denouement. This entire film is about time and memory and how unreliable it is, and the lies we tell ourselves about our own identities. Even during this, what we thought we knew about Leonard as the black and white flashback meets the backwards story, is revealed to be completely unreliable and quite shocking. Without revealing too much, the outcome of this film is both surprising, sinister and rather emotional, and features some of the best dialogue of the entire movie. Leonard’s actions and motives revealed here and the final voiceover as he drives off makes for a hugely satisfying ending.
I first watched Memento in a psychology class at college around 17 years ago. I loved it then and in the years since, it hasn’t lost its appeal. Watching it back now still evokes the same emotion and feelings when the credits roll as it did all those years ago and will always be one of my favourite films, even possibly my all time favourite.
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LeftSideCut (3776 KP) rated Dracula (English) (1931) in Movies
Jul 6, 2020
It goes without saying that the importance of Dracula cannot be understated. Releasing in 1931, it was Universal Studios first steps into the horror genre, not long after 'talkies' became a thing, and surely paved the way for he mountain of horror titles that have come along since.
Bela Lugosi is Dracula, and though there have been fine portrayals of the titular vampire since, his performance lay the ground work for how a lot of media realise vampires to this day. He cuts a striking figure, he's suave and sinister, and the thick European accent is paramount to how he made Dracula a classic.
I first saw Dracula when I was a kid, and having watched it again recently, it's still a striking experience. While there may not be anything inherently frightening or scary by today's standards, the old black and white style, paired with long moments of uncomfortable silence (Director Tod Browning has exclusively worked on silent films before this), make for a suitably eerie atmosphere.
It's obviously a film that shows it age, but still hasn't lost any of it's charm. The version I watched recently was a Blu Ray restoration, and it's clear how lovingly that restoration has been implemented. Watching a film from the 30s look so crystal clear is something special.
Bela Lugosi is Dracula, and though there have been fine portrayals of the titular vampire since, his performance lay the ground work for how a lot of media realise vampires to this day. He cuts a striking figure, he's suave and sinister, and the thick European accent is paramount to how he made Dracula a classic.
I first saw Dracula when I was a kid, and having watched it again recently, it's still a striking experience. While there may not be anything inherently frightening or scary by today's standards, the old black and white style, paired with long moments of uncomfortable silence (Director Tod Browning has exclusively worked on silent films before this), make for a suitably eerie atmosphere.
It's obviously a film that shows it age, but still hasn't lost any of it's charm. The version I watched recently was a Blu Ray restoration, and it's clear how lovingly that restoration has been implemented. Watching a film from the 30s look so crystal clear is something special.
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The selected diary entries are interspersed with clearly marked context. The black-and-white pencil drawings are impressive and the sketches that show the horrors of war are respectfully rendered. What impacted me most in the beginning was the innocence of the young man from Toronto going out into the world for the first time.
I appreciated this chance to get to know a little more about World War I from the life of a Canadian soldier. It was a pleasure to get to know Private Rabjohn. I am grateful to him for his commitment to documentation. Historian and author John Wilson did a great job providing context and compiling the information into an engaging and beautifully formatted book. This book can be appreciated by older children and adults.
I received an advanced readers copy from Penguin Random House Canada and Tundra Books via NetGalley in exchange for an honest review.
The selected diary entries are interspersed with clearly marked context. The black-and-white pencil drawings are impressive and the sketches that show the horrors of war are respectfully rendered. What impacted me most in the beginning was the innocence of the young man from Toronto going out into the world for the first time.
I appreciated this chance to get to know a little more about World War I from the life of a Canadian soldier. It was a pleasure to get to know Private Rabjohn. I am grateful to him for his commitment to documentation. Historian and author John Wilson did a great job providing context and compiling the information into an engaging and beautifully formatted book. This book can be appreciated by older children and adults.
I received an advanced readers copy from Penguin Random House Canada and Tundra Books via NetGalley in exchange for an honest review.
Bong Mines Entertainment (15 KP) rated Cult Classic by Fiona Grey in Music
Jun 21, 2019
Fiona Grey is an LA-based singer-songwriter from Chicago, Illinois. Not too long ago, she released a music video for her “Saviour” single featuring Emma Cole.
The Sean Berger-music video was choreographed by Kevin Stea (Madonna, Michael Jackson).
The visuals are an ode to Felini, Marie Antoinette, and the dark and dreamy black and white films of the ‘60s.
‘Saviour’ contains a relatable storyline, pleasing vocals, and charismatic instrumentation flavored with an indie-alternative aroma.
Also, the likable tune is featured on Fiona Grey’s latest EP, entitled, “Cult Classic”.
“Each song has its own identity and story it wants to tell.” – Fiona Grey
‘Cult Classic’ vocalizes cultural issues and expresses Fiona Grey’s vulnerability. Also, it highlights her anger towards the world we are living in and her desires for the world we are shaping.
Grammy Award-Winning Mike Schuppan (Paramore, M83, Ziggy Marley) produced the 6-track project. Also, Dave Cooley (Fitz & The Tantrums, Stone Temple Pilots) mastered it.
“There is a lot about living in a pop culture centered world that we deem as ‘normal behavior’. Also, I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.” – Fiona Grey
Fiona Grey draws inspiration from the world of Hollywood, it’s unrealistic expectations and the vices that people use as a form of escapism.
She hopes her music will help listeners aim to be the purest and honest versions of themselves.
The Sean Berger-music video was choreographed by Kevin Stea (Madonna, Michael Jackson).
The visuals are an ode to Felini, Marie Antoinette, and the dark and dreamy black and white films of the ‘60s.
‘Saviour’ contains a relatable storyline, pleasing vocals, and charismatic instrumentation flavored with an indie-alternative aroma.
Also, the likable tune is featured on Fiona Grey’s latest EP, entitled, “Cult Classic”.
“Each song has its own identity and story it wants to tell.” – Fiona Grey
‘Cult Classic’ vocalizes cultural issues and expresses Fiona Grey’s vulnerability. Also, it highlights her anger towards the world we are living in and her desires for the world we are shaping.
Grammy Award-Winning Mike Schuppan (Paramore, M83, Ziggy Marley) produced the 6-track project. Also, Dave Cooley (Fitz & The Tantrums, Stone Temple Pilots) mastered it.
“There is a lot about living in a pop culture centered world that we deem as ‘normal behavior’. Also, I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.” – Fiona Grey
Fiona Grey draws inspiration from the world of Hollywood, it’s unrealistic expectations and the vices that people use as a form of escapism.
She hopes her music will help listeners aim to be the purest and honest versions of themselves.