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Kirk Bage (1775 KP) rated Disobedience (2018) in Movies
Mar 3, 2020
English language films with big name actors are not usually this European. Which is why I have chosen the beautiful French poster to highlight this unexpected gem.
I hadn’t expected to like it, but was curious to see the two lead actresses work together on something so intimate, that became in the media something controversial, regrettably, for all the wrong reasons. They chose to focus on the sexual aspect of two high profile women about to commit to film a level of titillation hitherto unseen by either… but, of course, it is so much more than that.
The world of orthodox Judaisim and commitment to a patriarchal ideal of tradition and intrinsic value is at the heart of this small, yet devastating film. At first, that world is so alien and upsetting that it seems like a fantasy. Until you allow yourself to realise that this community does exist, and thrives.
Both Rachel Weisz as a woman with a secret who managed to escape the constraints and prejudices of the male dominant world, and Rachel McAdams, as the friend left behind to swallow her pride and be the expected wife, deliver extraordinary performances. The passion, repression and guilt are apparent in every scene.
But it is Alessandro Nivola, as the key antagonist, that really wins the plaudits. Watch a character so unlikable become a hero in the most humble and unlikely sense, in a scene of such breath-taking clarity, towards the film’s climax. I can only wish all “bad guys” get this kind of human pay-off.
A film of resonance and social interest that fails as an entirely coherent piece, but works in so many good ways it is worth seeing just for the feels! There is no point where you do not believe how much these women are in love. And for that reason alone, I recommend it.
I hadn’t expected to like it, but was curious to see the two lead actresses work together on something so intimate, that became in the media something controversial, regrettably, for all the wrong reasons. They chose to focus on the sexual aspect of two high profile women about to commit to film a level of titillation hitherto unseen by either… but, of course, it is so much more than that.
The world of orthodox Judaisim and commitment to a patriarchal ideal of tradition and intrinsic value is at the heart of this small, yet devastating film. At first, that world is so alien and upsetting that it seems like a fantasy. Until you allow yourself to realise that this community does exist, and thrives.
Both Rachel Weisz as a woman with a secret who managed to escape the constraints and prejudices of the male dominant world, and Rachel McAdams, as the friend left behind to swallow her pride and be the expected wife, deliver extraordinary performances. The passion, repression and guilt are apparent in every scene.
But it is Alessandro Nivola, as the key antagonist, that really wins the plaudits. Watch a character so unlikable become a hero in the most humble and unlikely sense, in a scene of such breath-taking clarity, towards the film’s climax. I can only wish all “bad guys” get this kind of human pay-off.
A film of resonance and social interest that fails as an entirely coherent piece, but works in so many good ways it is worth seeing just for the feels! There is no point where you do not believe how much these women are in love. And for that reason alone, I recommend it.
Chris Marker: Memories of the Future
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Chris Marker is one of the most extraordinary and influential film-makers of our time. In landmark...
Exception Taken: How France Has Defied Hollywood's New World Order
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In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the...
Kirk Bage (1775 KP) rated Band a Part (1964) in Movies
Jan 28, 2021
Of all the directors I have flirted with in my opening months with the BFI player, Godard is the one I am finding most accessible and least intimidating. He is the guy whose movies I am most tempted by when I don’t want to think or analyse too much, but simply sit back and enjoy for being cool. I also wanted to see why Quentin Tarantino named his production company after this movie. And now I have seen it his whole oeuvre makes total sense, at last! The exact feel of this Nouvelle Vague cornerstone is exactly what you find in 80% of what Tarantino is trying to do. The plot is incidental, of course. What is happening is only there to pin the characters and quirky dialogue on. Being cool is all. And this mid 60s confection is so cool, so French and so much style over content in the best possible way.
On the surface it is about two dodgy guys who take a shine to a girl and rope her into a heist. But the most memorable moments are the trivialities of them dancing the Maddison in a cafe because they are bored; reading the news aloud from newspapers whilst sat in the woods; driving erratically in a speedy little jalopy with a broken roof; and just making faces at one another as they flirt and express the bittersweet tediousness of being alive. It epitomises the time and place almost more than A Bout de Souffle, and in my opinion is the more mature, more knowing film. Ultimately it means very little, but is impossible not to like. It also sparked a greater interest in Anna Karina as a film icon, being the 2nd film on this list in which she impressed me.
On the surface it is about two dodgy guys who take a shine to a girl and rope her into a heist. But the most memorable moments are the trivialities of them dancing the Maddison in a cafe because they are bored; reading the news aloud from newspapers whilst sat in the woods; driving erratically in a speedy little jalopy with a broken roof; and just making faces at one another as they flirt and express the bittersweet tediousness of being alive. It epitomises the time and place almost more than A Bout de Souffle, and in my opinion is the more mature, more knowing film. Ultimately it means very little, but is impossible not to like. It also sparked a greater interest in Anna Karina as a film icon, being the 2nd film on this list in which she impressed me.
Neon's Nerd Nexus (360 KP) rated Revenge (2018) in Movies
May 13, 2019
Doin it for the kill
#revengemovie is without question the best looking movie of #2018, its so slick & #stylish I'd go as far as saying its this years #drive. #Revenge has a standard #rape/revenge plot we've all seen a million times before but you'd be greatly mistaken by passing up on this one believe me. Part #horror part drama Revenge has one of the most amazing visual styles ive seen in a while. Colours are blinding at times almost to the point of over saturation giving the film heat & vibrancy. This mixed with some insanely #beautiful cinematography had me literally sat with my mouth open in amazement. Every scene seems meticulously shot with such purpose & precision that its hard to not feel like your watching a piece of #art. Top that with a #comicbook/#80s feel & tone & what you have here is film that feels so fresh you forget that this genre hasnt been done to death already. #Soundtrack wise its pure perfection too with synth music pulsing throughout its intoxicating & keeps the films momentum flowing well. Metaphors are absolutely everywhere but the main one i picked up on is #femaleempowerment. At the start of the film #male character are chauvinistic & dominant treating her as a possession rather than a person but once she gets impaled by a tree roles seem to reverse & we see her become the man in a kind of #twisted rebirth (the tree implement scene i also see as a metaphor for the pain they put her through & even while walking around she has severed tree branch sticking out of her stomach almost like it represents that she's the man now with the tree branch representing male genitalia). Even the tagline suggests themes of fighting domestic abuse too. Acting is superb with #matildaannaingridlutz literally dominating the #film not only with her acting but with her incredible #beauty too. Right from the start i was sucked right in by its beauty, unnerved by its atmosphere & repulsed by its gore but theres not a second of it i didnt #love. Half #french subtitled half #english dialog Revenge is a #violent, unnerving, grisly & down right #gorgeous piece of #cinema that i cant recommend enough. Perfection. #odeon #odeonlimitless #filmbuff #filmcritic #fridayfeeling #gore
The Legacies of Jean-Luc Godard
Douglas Morrey, Christina Stojanova and Nicole Cote
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The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and...
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Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard
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What happens when we listen to a film? How can we describe the relationship of sound to vision in...
Bob Mann (459 KP) rated The Upside (2019) in Movies
Sep 28, 2021
Not the 5* French classic, but a fun and moving movie nonetheless.
So, the movie-going audience for this film will divide into two categories:
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
Category A: those that have seen the original 2011 French classic “The Intouchables” that this is based on, and;
Category B: those that haven’t.
2011 is just before I started “One Mann’s Movies”, but “The Intouchables” would have got 5* from me, no problem.
This movie joins a list of standout European movies – for example, “The Girl with the Dragon Tattoo”; “Let The Right One In”; “Sleepless Night”; etc. – that have had Hollywood “makeovers” that don’t match up to the originals. And this is no exception. However, it’s still been well made and deserves respect as a standalone piece of movie-making.
The Plot
Based on a true story, Phillip Lacasse (Bryan Cranston) is left both paraplegic and widowed by a string of bad luck. Not that money can buy you everything, but his care arrangements are substantially helped by him being a multi-millionaire (“Not rich enough to buy The Yankees; Rich enough to buy The Mets”). This is from success in investments and writing about such investments.
Depressed, cranky and with a “DNR” that his diligent PA Yvonne (Nicole Kidman) seems unable to comply with, Phillip lashes out at anyone and everyone and so dispatches his carers with monotonous regularity. Dell Scott (Kevin Hart) is on parole, with the requirement to seek work. Due to a mix-up, he finds himself in the employ of Phillip: with the suspicion that he’s been hired because he is the very worst candidate imaginable, and thus the most likely to let Phillip shuffle off this mortal coil. But the two men’s antipathy to each other slowly thaws as they teach each other new tricks.
Pin left in the grenade
Those who have seen “The Intouchables” will fondly remember the first 5 minutes of that film: a flash-forward to a manic police car-chase featuring our protagonists (there played by François Cluzet and Omar Sy). It drops like a comedy hand-grenade to open the film. Unfortunately, you can’t help but feel a bit let down by the same re-creation in “The Upside”. It has all the same content but none of the heart.
After that rocky start, the film continues to rather stutter along. Part of the reason for this I think is Kevin Hart. It’s not that he’s particularly bad in the role: it’s just that he IS Kevin Hart, and I was constantly thinking “there’s that comedian playing that role”.
However, once the story gets into its swing, giving Cranston more of a chance to shine (which he does), then the film started to motor and my reservations about Hart started to wane. Some of these story set pieces – such as the one about the art work – are punch-the-air funny in their own right. Cranston’s timing in delivering his punchlines is immaculate.
This IS what actors do
There seems to have been some furore about the casting of Bryan Cranston as the role of the disabled millionaire instead of a disabled actor. Lord save us! He’s an actor! That’s what actors do for a living: pretend to be people they’re not! It’s also worth pointing out that François Cluzet was an able-bodied actor as well.
As already mentioned, Bryan Cranston excels in the role. Phillip goes through such a wide range of emotions from despair to pure joy and back again that you can’t help but be impressed by the performance.
On the female side of the cast, it’s really nice to see Nicole Kidman in such a quiet and understated role and it’s nicely done; Aja Naomi King does a nice job as Dell’s protective ex-girlfriend Latrice; and there’s a nice female cameo as well, which I won’t spoil since I wasn’t expecting to see her in the film.
Final Thoughts
As a standalone film it has some laugh-out-loud moments, some feelgood highs and some moments of real pathos. The audience I saw this with was small, but there was still a buzz in the room and sporadic applause as the end titles came up: God only knows that’s unusual for a film!
The director is “Limitless” and “Divergent” director Neil Burger, and it’s a perfectly fun and innocent night out at the flicks that I commend to the house in this month of celluloid awards heavyweights.
The Sympathizer
8.3
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WINNER OF THE PULITZER PRIZE FOR FICTION 2016 It is April 1975, and Saigon is in chaos. At his...
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Judgment at Nuremberg
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