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Pat Healy recommended Army of Shadows (L'Armée des ombres) (1969) in Movies (curated)
Xavier Dolan recommended Goodbye, Children (Au Revoir Les Enfants) (1987) in Movies (curated)
Chris Sawin (602 KP) rated Martyrs (2008) in Movies
Jun 20, 2019 (Updated Jun 22, 2019)
As a young girl, Lucie was able to escape certain death as she was held captive and tortured onto the brink of death. Now, fifteen years later, she seeks revenge on those who hurt her emotionally, physically, and mentally. The only person she's ever been close to is, her friend, Anna. As Lucie leaves a path of destruction and mayhem on her quest for revenge, Anna is dragged along to help pick up the pieces. In an odd twist, Lucie is haunted by a woman whose sole purpose is to hurt her, but only shows up after Lucie unleashes all of her built up pain and anger. Anna begins to question Lucie's sanity as things take a turn for the worst. That is until Anna discovers the chained up woman in the basement...
Martyrs wasn't really what I was expecting at all. I was expecting something along the lines of Haute Tension and À l'intérieur since it's classified as a French horror film. I was left with something completely different as Martyrs tends to be on a level all on its own. It is extremely brutal. I've heard it is more along the lines of Irréversible, but since I haven't seen that I can't really elaborate on it. It left with me with the same feeling The Girl Next Door did. This uneasiness that made me question sitting through the movie again anytime soon. Yet, at the same time, not many horror films are capable of making me feel this way. So I'm not really sure if I should view this as a flaw or a virtue. It also reminded me of Hostel, at times, especially the closing act of the film. Before people grown or anything, let me explain. It reminds me of Hostel if it was done correctly and focused on young girls the entire time. For me, Hostel had an excellent idea but was executed the wrong way. Martyrs pretty much brought what I had in mind for that film to life and did it better. Martyrs is definitely its own film, but its influences and/or homages seem to stick out like a sore thumb to someone who watches a lot of films and/or reviews them.
On first viewing, I can't really say if I liked why this was being done to these girls. It is explained and as it makes sense on one hand, it seems a bit farfetched on the other. It may grow on me during repeat viewings, but it didn't really sit well with me this particular time. The brutality in the film isn't always what is shown on screen either. There's a scene where this bulky guy is beating the snot out of this girl; just punching her in the face repeatedly as hard as he can. You can't really see the damage he's doing to her, but you can hear it and you can tell he's giving her quite a beating. During one of the more gruesome parts, the sound almost completely fades away and the shot relies completely on the girl's facial expressions as you see her begin to shake. As disturbing as it was, it was interesting seeing anguish portrayed a bit differently as the film went on.
Martyrs definitely delivers in more than one department. Those who are looking for another sick, twisted, and brutal French horror film won't be disappointed and let's just say the film lives up to the meaning of its title. Be advised that this is on the same brutality level as High Tension and there are plenty of scenes to cringe to and scream at in this film.
Martyrs wasn't really what I was expecting at all. I was expecting something along the lines of Haute Tension and À l'intérieur since it's classified as a French horror film. I was left with something completely different as Martyrs tends to be on a level all on its own. It is extremely brutal. I've heard it is more along the lines of Irréversible, but since I haven't seen that I can't really elaborate on it. It left with me with the same feeling The Girl Next Door did. This uneasiness that made me question sitting through the movie again anytime soon. Yet, at the same time, not many horror films are capable of making me feel this way. So I'm not really sure if I should view this as a flaw or a virtue. It also reminded me of Hostel, at times, especially the closing act of the film. Before people grown or anything, let me explain. It reminds me of Hostel if it was done correctly and focused on young girls the entire time. For me, Hostel had an excellent idea but was executed the wrong way. Martyrs pretty much brought what I had in mind for that film to life and did it better. Martyrs is definitely its own film, but its influences and/or homages seem to stick out like a sore thumb to someone who watches a lot of films and/or reviews them.
On first viewing, I can't really say if I liked why this was being done to these girls. It is explained and as it makes sense on one hand, it seems a bit farfetched on the other. It may grow on me during repeat viewings, but it didn't really sit well with me this particular time. The brutality in the film isn't always what is shown on screen either. There's a scene where this bulky guy is beating the snot out of this girl; just punching her in the face repeatedly as hard as he can. You can't really see the damage he's doing to her, but you can hear it and you can tell he's giving her quite a beating. During one of the more gruesome parts, the sound almost completely fades away and the shot relies completely on the girl's facial expressions as you see her begin to shake. As disturbing as it was, it was interesting seeing anguish portrayed a bit differently as the film went on.
Martyrs definitely delivers in more than one department. Those who are looking for another sick, twisted, and brutal French horror film won't be disappointed and let's just say the film lives up to the meaning of its title. Be advised that this is on the same brutality level as High Tension and there are plenty of scenes to cringe to and scream at in this film.
Gareth von Kallenbach (980 KP) rated Dunkirk (2017) in Movies
Jul 11, 2019
In May 1940, as Germany advanced into France, Allied troops found themselves surrounded at the town of Dunkirk with little time to escape. In the distance, the Germans sought to capture or kill each of the nearly 400,000 men. French and British soldiers began the slow process to evacuate using every naval or civilian ship available. Dunkirk examines the heroism involved by everyone on the land, sea, and air in their attempt to get their countrymen home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
Suswatibasu (1701 KP) rated Darkest Hour (2017) in Movies
Mar 12, 2018 (Updated Mar 12, 2018)
Emotional, dark and guttural
While @Dunkirk (2017) was a cinematic feat, the Darkest Hour was the substance that lacked in Christopher Nolan's work.
Following the month that led to the event in which the entire British army were stranded on the French beach, we see how politics played out and a decision to fight until death was taken. Gary Oldman is a master as Winston Churchill, the raw emotion he brings to the character is spectacular and I found myself becoming increasingly teary as the film went on.
For fans of the @The King's Speech (2010), it has a similar sentiment to it, not only because both characters are involved in each of the films, but each seem to have deep connection to one another. Oldman deserved the Oscar for this.
Following the month that led to the event in which the entire British army were stranded on the French beach, we see how politics played out and a decision to fight until death was taken. Gary Oldman is a master as Winston Churchill, the raw emotion he brings to the character is spectacular and I found myself becoming increasingly teary as the film went on.
For fans of the @The King's Speech (2010), it has a similar sentiment to it, not only because both characters are involved in each of the films, but each seem to have deep connection to one another. Oldman deserved the Oscar for this.
Beauty and the Beast
7.3
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Beauty and the Beast is a musical with music by Alan Menken, lyrics by Howard Ashman and Tim Rice,...
Catherine Breillat
Book
This is the first English-language book on controversial female director Catherine Breillat, whose...
Neon's Nerd Nexus (360 KP) rated Angel-A (2005) in Movies
May 13, 2019
Je t'aime
My number 3 title in my #top10 #favourite films is 'Angel-a'
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#Angela is a very underrated #lucbesson movie but for me its his absolute best work. This #film has had such a massive impact on my life/who I am as a person & for that reason alone its a film I hold so close to my #heart. Essentially a #love story but different to the kind we are used to #Angel-a is #heartbreaking, #funny, #strange & visually #breathtaking. Teaching not only about the importance of love but more about the importance of learning to #loveyourself first Angel-a has such a powerful message especially for people feeling lost in life. Simply #beautiful to look at with every scene looking like a piece of art & directed with such #passion, love & care that I was pulled right into its #weird & wonderful story right from the start. Its an #emotional rollercoaster at times hitting you right in the heart but it also has just enough #crazy Besson style & humour to make it truly unique & different to what you would expect from the genre. Seemingly #inspired by the film wingsofdesire by #wimwenders & just like it Angle-a too is also rich in #philosophy & the cast is an absolute joy to watch. While not for everyone I simply can not describe how much I adore this movie. ------------------------------------------------
#filmbuff #filmcritic #angel #heaven #magical #fantasy #art #artsy #french #wednesdaywisdom
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#Angela is a very underrated #lucbesson movie but for me its his absolute best work. This #film has had such a massive impact on my life/who I am as a person & for that reason alone its a film I hold so close to my #heart. Essentially a #love story but different to the kind we are used to #Angel-a is #heartbreaking, #funny, #strange & visually #breathtaking. Teaching not only about the importance of love but more about the importance of learning to #loveyourself first Angel-a has such a powerful message especially for people feeling lost in life. Simply #beautiful to look at with every scene looking like a piece of art & directed with such #passion, love & care that I was pulled right into its #weird & wonderful story right from the start. Its an #emotional rollercoaster at times hitting you right in the heart but it also has just enough #crazy Besson style & humour to make it truly unique & different to what you would expect from the genre. Seemingly #inspired by the film wingsofdesire by #wimwenders & just like it Angle-a too is also rich in #philosophy & the cast is an absolute joy to watch. While not for everyone I simply can not describe how much I adore this movie. ------------------------------------------------
#filmbuff #filmcritic #angel #heaven #magical #fantasy #art #artsy #french #wednesdaywisdom
Awix (3310 KP) rated Early Man (2018) in Movies
Feb 8, 2018 (Updated Feb 8, 2018)
One Million Years F.C.
Another movie from the people who made Wallace and Gromit and Shaun the Sheep, and if you're familiar with either of those you will know that expectations will be high: Aardman are the British answer to Pixar or Studio Ghibli. Keeping such sky-high standards must be difficult, so we must try to be understanding when they fall a little short - as they do here.
A tribe of comedy cavemen with English accents are driven from their lovely valley by a nasty Bronze Age civilisation who variously sound French, Italian, and German. Brightest of the cavemen hits upon a scheme to win the valley back by playing the invaders at their sacred game, i.e. football (or soccer). Cue lots of sports movie cliches/parodies.
Well, obviously, you can't fault the craft that goes into these films, but on this occasion you can't help noticing the slightness of the story and the fact that it's neither as funny nor, crucially, as clever as many of their previous productions. (The fact that the film has a weird Brexit-friendly political subtext may be an issue for some viewers as well.) I love silly accents, absurd jokes and bad puns as much as the next person (probably more, in truth), but the fact that this film doesn't have the same kind of heart or warmth as (for example) your typical Pixar film is very noticeable. Still, not *actually* that bad.
A tribe of comedy cavemen with English accents are driven from their lovely valley by a nasty Bronze Age civilisation who variously sound French, Italian, and German. Brightest of the cavemen hits upon a scheme to win the valley back by playing the invaders at their sacred game, i.e. football (or soccer). Cue lots of sports movie cliches/parodies.
Well, obviously, you can't fault the craft that goes into these films, but on this occasion you can't help noticing the slightness of the story and the fact that it's neither as funny nor, crucially, as clever as many of their previous productions. (The fact that the film has a weird Brexit-friendly political subtext may be an issue for some viewers as well.) I love silly accents, absurd jokes and bad puns as much as the next person (probably more, in truth), but the fact that this film doesn't have the same kind of heart or warmth as (for example) your typical Pixar film is very noticeable. Still, not *actually* that bad.
Awix (3310 KP) rated Godzilla (1998) in Movies
Mar 24, 2018
Much-reviled and frequently-mocked (especially in subsequent Toho films) American Godzilla is actually not bad as a mega-budget reinvention of the classic American monster B-movie (which the original Japanese Godzilla was inspired by), it's just very disappointing as an actual Godzilla movie. The French irradiate the Pacific, causing humble iguana to grow to ginormous proportions, experience curious gender issues, and then devastate Manhattan.
Some good effects sequences, particularly the two big battles between 'Godzilla' and the US armed forces, and the leads work hard to be likeable, but on the whole the film seems much more interested in American pop culture (there's a pastiche of Jurassic Park, jokes about Elvis, some really unsubtle digs at film critics who didn't like Independence Day) than in the Japanese pop icon it's supposed to be about - the monster is lacking in grandeur and majesty, doesn't have Godzilla's special abilities, and is basically just a big lizard you can kill with conventional weapons. (No wonder the beast is just called 'Zilla' in its subsequent appearances.) Not awful on its own terms, but then it was never going to be judged on those.
Some good effects sequences, particularly the two big battles between 'Godzilla' and the US armed forces, and the leads work hard to be likeable, but on the whole the film seems much more interested in American pop culture (there's a pastiche of Jurassic Park, jokes about Elvis, some really unsubtle digs at film critics who didn't like Independence Day) than in the Japanese pop icon it's supposed to be about - the monster is lacking in grandeur and majesty, doesn't have Godzilla's special abilities, and is basically just a big lizard you can kill with conventional weapons. (No wonder the beast is just called 'Zilla' in its subsequent appearances.) Not awful on its own terms, but then it was never going to be judged on those.