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Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
Gareth von Kallenbach (980 KP) rated The Greatest Showman (2017) in Movies
Jul 11, 2019
I can’t claim to know much about musicals. I don’t actively avoid them, but I don’t go out of my way to see them either. The few that I have seen and liked don’t seem to sit well with the musical theater crowd either. For instance, recently in conversation my defense of Russell Crowe as Javert in the latest adaptation of Les Misérables was shot down in a matter of seconds. My wife, with some frequency, reminds me that my (until now) secret admiration of Tim Burton’s Sweeney Todd is something that should never be declared in a public forum. For me, one of the best achievements in musical film will always be South Park: Bigger, Longer & Uncut; and though there is a general positivity about it, I’ve never seen it taken all that seriously as a contemporary musical (it was certainly a hell of a lot more memorable than 2003’s Best Picture winner, Chicago). So, if you haven’t already decided my opinion will be moot and stopped reading, I will, with the limited appreciation I have for this genre, give The Greatest Showman the fairest shake I can.
At a surprisingly short hour and forty-five minutes, this high-concept imagining of the meteoric rise of P.T. Barnum (Hugh Jackman), from the impoverished son of a tailor to one of the biggest names in the history of entertainment, should absolutely fly by. Tragically, it doesn’t. Beginning with an irresponsibly rushed first act that condenses decades of backstory into a few minutes, it dramatically stops dead between its second and third acts as we’re subjected to three songs in a row that not all that subtly beat us over the head with the inevitably that our leads are going to have to face some predictable, life-changing conflict before the big finale. Showman also suffers from the delusion that period pieces will be more engaging and relatable with a modern-inspired soundtrack, à la Baz Luhrmann’s misguided attempt at The Great Gatsby. The idea being that the music of the time, though antiquated to us now, would have sounded modern to people then, so why not put modern music, whether original or sourced, over period images in an attempt to bridge the gap between their world and ours? It’s a concept that might sound great on paper, but as Luhrmann already proved, the final results don’t so much complement each other as they expose each other’s weaknesses.
Its major flaw though, and why The Greatest Showman fails to be a great anything, is the insistence on force-feeding moments of attempted catharsis every 15-20 minutes, having earned almost none of them. A great many of the numbers are presented as such grand, climactic set pieces that they don’t feel as though they are working to serve a cohesive, larger whole. We are inundated with a blur of crescendo after crescendo and left little time to reflect on what we have just seen and heard before the film clumsily bounds off to the next song-and-dance laden plot point; and if you asked me to name any of the individual tunes now three days later, I’d be hard-pressed to do so. It’s an odd juxtaposition, and one I’ve very rarely experienced, wanting so badly for a film to end and at the same time wishing it had been given more time to fully realize its scope. Keep your ears open as well for an ill-advised line in which Barnum proudly compares himself to Napoleon. Isn’t Barnum supposed to be the “hero” of this piece, someone we are supposed to identify with and for whom we want to find success? Somebody please provide Showman’s writers a history lesson that didn’t just come off a Wikipedia page (for Barnum and Napoleon’s sakes).
With any negative criticism, I do like to try and go out on something positive, and if I have to concede anything to this movie, it’s that it finds its footing, albeit temporarily, while addressing issues of equality. Showman shines in the few moments where the supporting players portraying Barnum’s “oddities”, Keala Settle as Lettie Lutz in particular, are given the opportunity to stand toe-to-toe with the leads and, in many of these scenes, they rise above even the likes of Hugh Jackman. Another member of the cast who merits a little bit of praise (and I reserve the right to retract this at any time of my choosing, more than likely with whatever juvenile comedy he’ll be seen in next) is Zac Efron. Exposure to the likes of Nicole Kidman and John Cusack in 2012’s sadly overlooked The Paperboy, may finally be yielding results as he is the only lead who leaves an impression. Though his journey as a high society playwright begrudgingly brought into Barnum’s world definitely leans heavily on the saccharine side, it does provide a break of plausibility in amongst the unbridled chaos of the rest of the picture. I wouldn’t doubt that there is a much better movie that could have been made from expanding into its own feature the subplot of his character bucking the expectations of his status to fall in love with a circus performer.
At a surprisingly short hour and forty-five minutes, this high-concept imagining of the meteoric rise of P.T. Barnum (Hugh Jackman), from the impoverished son of a tailor to one of the biggest names in the history of entertainment, should absolutely fly by. Tragically, it doesn’t. Beginning with an irresponsibly rushed first act that condenses decades of backstory into a few minutes, it dramatically stops dead between its second and third acts as we’re subjected to three songs in a row that not all that subtly beat us over the head with the inevitably that our leads are going to have to face some predictable, life-changing conflict before the big finale. Showman also suffers from the delusion that period pieces will be more engaging and relatable with a modern-inspired soundtrack, à la Baz Luhrmann’s misguided attempt at The Great Gatsby. The idea being that the music of the time, though antiquated to us now, would have sounded modern to people then, so why not put modern music, whether original or sourced, over period images in an attempt to bridge the gap between their world and ours? It’s a concept that might sound great on paper, but as Luhrmann already proved, the final results don’t so much complement each other as they expose each other’s weaknesses.
Its major flaw though, and why The Greatest Showman fails to be a great anything, is the insistence on force-feeding moments of attempted catharsis every 15-20 minutes, having earned almost none of them. A great many of the numbers are presented as such grand, climactic set pieces that they don’t feel as though they are working to serve a cohesive, larger whole. We are inundated with a blur of crescendo after crescendo and left little time to reflect on what we have just seen and heard before the film clumsily bounds off to the next song-and-dance laden plot point; and if you asked me to name any of the individual tunes now three days later, I’d be hard-pressed to do so. It’s an odd juxtaposition, and one I’ve very rarely experienced, wanting so badly for a film to end and at the same time wishing it had been given more time to fully realize its scope. Keep your ears open as well for an ill-advised line in which Barnum proudly compares himself to Napoleon. Isn’t Barnum supposed to be the “hero” of this piece, someone we are supposed to identify with and for whom we want to find success? Somebody please provide Showman’s writers a history lesson that didn’t just come off a Wikipedia page (for Barnum and Napoleon’s sakes).
With any negative criticism, I do like to try and go out on something positive, and if I have to concede anything to this movie, it’s that it finds its footing, albeit temporarily, while addressing issues of equality. Showman shines in the few moments where the supporting players portraying Barnum’s “oddities”, Keala Settle as Lettie Lutz in particular, are given the opportunity to stand toe-to-toe with the leads and, in many of these scenes, they rise above even the likes of Hugh Jackman. Another member of the cast who merits a little bit of praise (and I reserve the right to retract this at any time of my choosing, more than likely with whatever juvenile comedy he’ll be seen in next) is Zac Efron. Exposure to the likes of Nicole Kidman and John Cusack in 2012’s sadly overlooked The Paperboy, may finally be yielding results as he is the only lead who leaves an impression. Though his journey as a high society playwright begrudgingly brought into Barnum’s world definitely leans heavily on the saccharine side, it does provide a break of plausibility in amongst the unbridled chaos of the rest of the picture. I wouldn’t doubt that there is a much better movie that could have been made from expanding into its own feature the subplot of his character bucking the expectations of his status to fall in love with a circus performer.
BankofMarquis (1832 KP) rated 2001: A Space Odyssey (1968) in Movies
Mar 4, 2018
Groundbreaking Special Effects (1 more)
Music
Truly...a masterpiece
Over the years, many, many words have been written and said about the 1968 Stanley Kubrick opus, 2001: A SPACE ODYSSEY, but after re-watching it, there is only 1 word I would write about it...
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated 2001: A Space Odyssey (1968) in Movies
Jul 4, 2018
A Masterpiece
Over the years, many, many words have been written and said about the 1968 Stanley Kubrick opus, 2001: A SPACE ODYSSEY, but after re-watching it, there is only 1 word I would write about it...
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Star Trek (2009) in Movies
Aug 14, 2019
With declining attendance at conventions and a dwindling audience for recent films and the last Star Trek series, Enterprise, Paramount was desperate to find a way to breathe new life into their franchise. So they pinned their hopes on director J.J. Abrams. Even with a string of hit movies and television series under his belt, some believed that Abrams was facing an uphill battle in trying to resuscitate Star Trek, with its legions of rabid fans obsessively protective of the series’ 40-plus years of established history.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
Gareth von Kallenbach (980 KP) rated Whiplash (2014) in Movies
Aug 6, 2019
Well, I must’ve done something to incur this kind of karma recently … My editors have been assigning me some excellent films this past month and this one is another on that string …
intensity, drive, and jazz combine to form the synopsis of this latest film. ‘Whiplash’ is a dramatic ‘jazz thriller’ which premiered at 2014 Sundance film festival back in January and instantly received several awards and critical acclaim before hit the theaters earlier this October.
Written and directed by Damien Chazelle, ‘Whiplash’ stars Miles Teller, J.K. Simmons, Melissa Benoist, Paul Reiser, Jayson Blair, Austin Stowell, and Kavita Patil.
At a music conservatory where the competition could be compared to a ‘dog-eat-dog’ philosophy, Andrew Neyman (Teller) is a promising young drummer, willing to sacrifice his personal life and nearly everything else with his ultimate goal of becoming one of the great jazz drummers in memory. Having fallen under the eye of Terence Fletcher (Simmons), an almost insane and ruthless music conductor who notices the young music prodigy’s talent and becomes the drummer’s mentor.
Assigning Neyman as 2nd then 1st chair, Fletcher at first calmly nurtures the drummer prodigy but then pulls a complete 180 berating Neyman and very nearly assaulting him with a drum cymbal and reassigns him to 2nd chair. Later, at a jazz competition where the 1st chairs music was lost and Neyman ‘saves the day’ by playing the entire music set from memory Fletcher assigns him to 1st chair as a reward only to reassign him a few days later and replace him with another ‘supposed’ drummer prodigy. All the while, Neyman is devoting all his energies and thought to his drumming to the point of boarding on a nervous breakdown and injury …. even ending his relationship with his girlfriend. Throughout all these events Fletcher continues his villainous and tyrannical treatment of Neyman all in an effort to inspire him to realize his true potential …. the potential that Fletcher believes Neyman possess.
I mentioned ‘intensity’ and ‘drive’ at the beginning of this review …. Those two key words ….
are what this film created. The drive of Neyman and the intensity of his mentor Fletcher ….
Perhaps it’s the other way around? When the movie ends, you left with the same feeling you might imagine if you tried a 5 shot espresso. This film shows how much music (in this case jazz) can affect an individual. How anyone’s true passion can push someone beyond what is would be described as normal.
Teller and Simmons had the rare good fortunes as far as the casting in which they could both be the lead actors in this film where the intensity is magnified by the reaction of the other’s volatile attitude from one minute to the next. It was like watching a violent chemical reaction unfold in a science lab. You almost found yourself wanting to duck for cover when Neyman and Fletcher started fuming at each other. At the apex of this volatile relationship was the goal of realizing Neyman’s potential again, it was all about the drive and the intensity.
Despite the films praise, it has not been without criticism …. In recent edition of Slate, an internet culture and current affairs magazine, Forrest Wickman accused the film of distorting and misinterpreting an anecdote regarding legendary jazz composer and saxophonist Charlie Parker. Both main characters Fletcher and Neyman mention that drummer Jo Jones threw a cymbal at the teenaged Parker’s head as retaliation for Parker’s supposedly losing the beat of the composition they were performing in Count Basie’s band during a 1930s performance. According to Wickman, “Jones didn’t throw the cymbal at Parker’s head. He threw it at the floor near his feet, ‘gonging’ him off. It wasn’t an episode of physical abuse.” Jones was upset at Parker’s failure to change key with the rest of the band NOT losing the beat.
Alas, there is a an occurrence of the dreaded ‘artistic license’ in the film. And although it’s disappointing to see such an excellent film ‘alter history’ in order to better meld with the film’s script/premise the movie was so well done that I kind of let that slip by. If the performances by Teller and Simmons aren’t enough to convince you … At least go for the music! If you’re into ‘real’ jazz and not the ‘Starbucks Coffeehouse Crap’ that J.K. Simmons refers to in the film, then ‘Whiplash’ is definitely a film worth checking out. Definitely NOT one for the kids as there is A LOT of foul adult language in the film. Once again, I’m going to give this film 4 out of 5 stars.
intensity, drive, and jazz combine to form the synopsis of this latest film. ‘Whiplash’ is a dramatic ‘jazz thriller’ which premiered at 2014 Sundance film festival back in January and instantly received several awards and critical acclaim before hit the theaters earlier this October.
Written and directed by Damien Chazelle, ‘Whiplash’ stars Miles Teller, J.K. Simmons, Melissa Benoist, Paul Reiser, Jayson Blair, Austin Stowell, and Kavita Patil.
At a music conservatory where the competition could be compared to a ‘dog-eat-dog’ philosophy, Andrew Neyman (Teller) is a promising young drummer, willing to sacrifice his personal life and nearly everything else with his ultimate goal of becoming one of the great jazz drummers in memory. Having fallen under the eye of Terence Fletcher (Simmons), an almost insane and ruthless music conductor who notices the young music prodigy’s talent and becomes the drummer’s mentor.
Assigning Neyman as 2nd then 1st chair, Fletcher at first calmly nurtures the drummer prodigy but then pulls a complete 180 berating Neyman and very nearly assaulting him with a drum cymbal and reassigns him to 2nd chair. Later, at a jazz competition where the 1st chairs music was lost and Neyman ‘saves the day’ by playing the entire music set from memory Fletcher assigns him to 1st chair as a reward only to reassign him a few days later and replace him with another ‘supposed’ drummer prodigy. All the while, Neyman is devoting all his energies and thought to his drumming to the point of boarding on a nervous breakdown and injury …. even ending his relationship with his girlfriend. Throughout all these events Fletcher continues his villainous and tyrannical treatment of Neyman all in an effort to inspire him to realize his true potential …. the potential that Fletcher believes Neyman possess.
I mentioned ‘intensity’ and ‘drive’ at the beginning of this review …. Those two key words ….
are what this film created. The drive of Neyman and the intensity of his mentor Fletcher ….
Perhaps it’s the other way around? When the movie ends, you left with the same feeling you might imagine if you tried a 5 shot espresso. This film shows how much music (in this case jazz) can affect an individual. How anyone’s true passion can push someone beyond what is would be described as normal.
Teller and Simmons had the rare good fortunes as far as the casting in which they could both be the lead actors in this film where the intensity is magnified by the reaction of the other’s volatile attitude from one minute to the next. It was like watching a violent chemical reaction unfold in a science lab. You almost found yourself wanting to duck for cover when Neyman and Fletcher started fuming at each other. At the apex of this volatile relationship was the goal of realizing Neyman’s potential again, it was all about the drive and the intensity.
Despite the films praise, it has not been without criticism …. In recent edition of Slate, an internet culture and current affairs magazine, Forrest Wickman accused the film of distorting and misinterpreting an anecdote regarding legendary jazz composer and saxophonist Charlie Parker. Both main characters Fletcher and Neyman mention that drummer Jo Jones threw a cymbal at the teenaged Parker’s head as retaliation for Parker’s supposedly losing the beat of the composition they were performing in Count Basie’s band during a 1930s performance. According to Wickman, “Jones didn’t throw the cymbal at Parker’s head. He threw it at the floor near his feet, ‘gonging’ him off. It wasn’t an episode of physical abuse.” Jones was upset at Parker’s failure to change key with the rest of the band NOT losing the beat.
Alas, there is a an occurrence of the dreaded ‘artistic license’ in the film. And although it’s disappointing to see such an excellent film ‘alter history’ in order to better meld with the film’s script/premise the movie was so well done that I kind of let that slip by. If the performances by Teller and Simmons aren’t enough to convince you … At least go for the music! If you’re into ‘real’ jazz and not the ‘Starbucks Coffeehouse Crap’ that J.K. Simmons refers to in the film, then ‘Whiplash’ is definitely a film worth checking out. Definitely NOT one for the kids as there is A LOT of foul adult language in the film. Once again, I’m going to give this film 4 out of 5 stars.
Jesters_folly (230 KP) rated Zack Snyder's Justice League (2021) in Movies
Mar 26, 2021
Contains spoilers, click to show
Zack Snynder's Justice League is the original cut of the Justice League film that was released in 2017 which was started by by Snyder and re written / cut by Josh Whedon, cutting the film from Snyders 4 hour, R/15 rated vison to a 1.30 pg/12 rated version. The film was meant to be the big connecting point for the DC equivalent version of the MCU after following on from 'Man of Steel' and Batman vs Superman' but the Whedon cut was met with a lot of criticism as fans felt that it didn't give what was promised and so the DCCU seemed to stall, or go in a different direction with 'Birds of Prey'. We don't know if, with the release of the Snyder, the DCCU will be restarted.
Zack Snyder's Justice League follows the same basic story of the Whedon cut, after the events of 'Batman vs Superman', Batman begins to form a super hero team to be ready for the invasion Lex Luthor warned of.
The film is of a similar dark tone as the two previous films, with some humour added by Ezra Miller's Flash, and adds more back story to both the flash and Cyborg as well as more information about the villains, Steppenwolf and Darkseid.
The biggest problems of the Snyder cut is the 4 hour run time and I wonder if that would have been cut if; 1) it had been originally released without Josh Whedon's input and 2) if marvel hadn't already released the 3 hour long Avengers end game.
Any other problem I have with Justice League are minor, I'm still not sure if DC have handled the resurrection of Superman right but that's based off what they did in the comics and Snyder did... well I'll get to that in a bit.
The inclusion of Martian Manhunter was good but his first appearance in the film was a bit odd.
The last main problem I had were Stepenwolf's eye's, part way through the film his eyes seem to get too big for his face, almost giving him a cute, Anime girl look. At least until they go blue.
Zack Snyder's Justice league did a lot of things right, the inclusion on Darkseid is the big one as it makes Steppenwolf's motivation more believable and adds to the history of the DCU earth, not to mention introducing the Green Lanterns (with out CGI costumes).
Now back to Superman, I've already said that DC may have missed a trick with his resurrection but Snyder left him in his black outfit (I'm sure you se him back in his original outfit, in the present in the Whedon cut ) and anyone familiar with the 'Reign of the Superman' Comics/animated film know that the Black costumed superman is in fact the Eradicator so, depending on what DC have/had planned in Superman's future they could be planning something else, especially now the Green lanterns have been introduced .
Because of the longer runtime the new characters did seem more filled out which helped with the overall motivation and flow of the film.
Like the previous two films (I'm not counting suicide squad because it's only linked by the end scene) Justice league is quite slow paced and dark, taking time to build up to the action but the narrative does fit the pace and doesn't let it feel rushed or leave any loose ends. In fact the only part that almost felt like something was missing was when Flash repapered after breaking the speed of light however that may be because I've read a few comics and know that something normally happens when he does that.
I do hope that DCCU does continue from Zack Snyder's Justice league, if only to find out what they are planning with the whole 'nightmare future/Lois is the key' storyline they started in 'Batman vs Superman' and continued here.
Even if you have seen the Whedon cut and if you can find the time I would recommend watching the Snyder cut as there is a lot more to the film even though there are a few scenes from the Whedon cut missing and the Snyder cut does pull on a lot more law from the comics that was only hinted at in the shorter version. (I still find hard to believe they left Darkseid out of the Whedon cut considering the story they were trying to tell.)
Zack Snyder's Justice League follows the same basic story of the Whedon cut, after the events of 'Batman vs Superman', Batman begins to form a super hero team to be ready for the invasion Lex Luthor warned of.
The film is of a similar dark tone as the two previous films, with some humour added by Ezra Miller's Flash, and adds more back story to both the flash and Cyborg as well as more information about the villains, Steppenwolf and Darkseid.
The biggest problems of the Snyder cut is the 4 hour run time and I wonder if that would have been cut if; 1) it had been originally released without Josh Whedon's input and 2) if marvel hadn't already released the 3 hour long Avengers end game.
Any other problem I have with Justice League are minor, I'm still not sure if DC have handled the resurrection of Superman right but that's based off what they did in the comics and Snyder did... well I'll get to that in a bit.
The inclusion of Martian Manhunter was good but his first appearance in the film was a bit odd.
The last main problem I had were Stepenwolf's eye's, part way through the film his eyes seem to get too big for his face, almost giving him a cute, Anime girl look. At least until they go blue.
Zack Snyder's Justice league did a lot of things right, the inclusion on Darkseid is the big one as it makes Steppenwolf's motivation more believable and adds to the history of the DCU earth, not to mention introducing the Green Lanterns (with out CGI costumes).
Now back to Superman, I've already said that DC may have missed a trick with his resurrection but Snyder left him in his black outfit (I'm sure you se him back in his original outfit, in the present in the Whedon cut ) and anyone familiar with the 'Reign of the Superman' Comics/animated film know that the Black costumed superman is in fact the Eradicator so, depending on what DC have/had planned in Superman's future they could be planning something else, especially now the Green lanterns have been introduced .
Because of the longer runtime the new characters did seem more filled out which helped with the overall motivation and flow of the film.
Like the previous two films (I'm not counting suicide squad because it's only linked by the end scene) Justice league is quite slow paced and dark, taking time to build up to the action but the narrative does fit the pace and doesn't let it feel rushed or leave any loose ends. In fact the only part that almost felt like something was missing was when Flash repapered after breaking the speed of light however that may be because I've read a few comics and know that something normally happens when he does that.
I do hope that DCCU does continue from Zack Snyder's Justice league, if only to find out what they are planning with the whole 'nightmare future/Lois is the key' storyline they started in 'Batman vs Superman' and continued here.
Even if you have seen the Whedon cut and if you can find the time I would recommend watching the Snyder cut as there is a lot more to the film even though there are a few scenes from the Whedon cut missing and the Snyder cut does pull on a lot more law from the comics that was only hinted at in the shorter version. (I still find hard to believe they left Darkseid out of the Whedon cut considering the story they were trying to tell.)
Gareth von Kallenbach (980 KP) rated T2 Trainspotting (2017) in Movies
Jul 12, 2019
The first time I saw Trainspotting was my senior year of high school. At the time, I knew that I wanted to get involved in film, and I really did for about ¾ of a year after I graduated. I looked at movies for their artistry and cinematography even at a young age. I was a band geek, so music was also things I would love about movies. I was deep for a 17-year-old, or so I thought any way. But I explain this to you so you don’t think that I loved this movie simply because of the drug use or humor it presented. I have always been of the mind to find something I like about a movie, watch it for what it is, and try to just find the enjoyment value (I know, weird coming from a film reviewer). I didn’t even have to try for Trainspotting. It was the complete package, and ground breaking. It also introduced me to Ewan McGregor, who is one of my favorite actors. I loved the movie so much, I bought Irvine Welsh’s book that the movie was based on of the same title, Trainspotting, which I highly recommend simply for the fact that it’s written in phonetic Scottish. I never picked up Porno, the literary sequel to Trainspotting, but I hear it is bizarre and will need to pick it up, but not because of this movie. I’ll explain in a moment.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Kirk Bage (1775 KP) rated Roma (2018) in Movies
Mar 2, 2020 (Updated Mar 3, 2020)
I watched Roma exactly a week ago today. And although I knew 20 minutes in that I loved it, and at the end that I really loved it, I have taken that time to let it settle within me in before coming to write about it. Some films are so good that you have to do that: let it sink into you fully, before doing anything so trivial as judging and comparing them. Roma is incomparable! I have never seen anything like it, or felt as deeply moved by a film in a long time.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?