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TacoDave (3547 KP) rated Parasite (2019) in Movies
Nov 14, 2019
Story (3 more)
Acting
Humor
Unexpected twists
This Parasite gets under your skin...
I will try not to spoil anything, because I really enjoyed watching this movie unfold. It's the kind of film where you can't really guess where it is going, because where it is going is so strange...
Based on the director, I expected sci-fi or horror. This movie isn't either of those genres: it is basically a human-level character study, but in a universe with slightly-cartoonish logic.
I know that doesn't make much sense, but if you watch the movie you might agree.
The main family is broke. They have no money for food and their neighbor recently put a password on their wifi, so they don't even have phones that work. When the son gets the chance to become a tutor to a rich girl, even though he isn't qualified, he jumps at the chance. And, slowly but surely, he and his family plan ways to get all four of them hired on at the rich owners' house.
That's all I will say, because discovery is important for this movie to work. There is a lot of drama and real-life class struggle, but the movie is often punctuated by humor that takes a second to register. It might be a physical sight gag; it might be a turn of phrase; it might be a facial expression; but I found myself laughing out loud, even as uncomfortable things were happening.
If you don't mind subtitles, I strongly recommend Parasite. It is as good as the reviews say.
Based on the director, I expected sci-fi or horror. This movie isn't either of those genres: it is basically a human-level character study, but in a universe with slightly-cartoonish logic.
I know that doesn't make much sense, but if you watch the movie you might agree.
The main family is broke. They have no money for food and their neighbor recently put a password on their wifi, so they don't even have phones that work. When the son gets the chance to become a tutor to a rich girl, even though he isn't qualified, he jumps at the chance. And, slowly but surely, he and his family plan ways to get all four of them hired on at the rich owners' house.
That's all I will say, because discovery is important for this movie to work. There is a lot of drama and real-life class struggle, but the movie is often punctuated by humor that takes a second to register. It might be a physical sight gag; it might be a turn of phrase; it might be a facial expression; but I found myself laughing out loud, even as uncomfortable things were happening.
If you don't mind subtitles, I strongly recommend Parasite. It is as good as the reviews say.
Sarah (7798 KP) rated Parasite (2019) in Movies
Jul 17, 2020
Deserving of the hype
I very rarely rate Oscar winners when I eventually see them. For me, apart from a few exceptions, most tend to be overrated. However Parasite is definitely one of the exceptions.
It takes a lot of concentration to watch a foreign language film and constantly read the subtitles, but Parasite is that interesting and entertaining that I virtually forgot it was in Korean. I was so enthralled by the life and schemes of the Kim family. What surprised me the most was how funny this was. I'd been expecting a serious drama and whilst it was serious in parts, the first half of the film is quite humorous watching the Kim family scheme their way into the lives of the Parks. It really is a crazy plot but that's what makes it so enjoyable to watch. And the final act of the film is bonkers yet a work of absolute genius - I never would've predicted that the film would turn out that way.
There are a lot of great things about this film - a fantastic script, a clear message on the divide between rich and popt and a plot spanning a variety of genres from drama, comedy to even horror. It's wonderfully directed too and there's no surprise on the Oscar for that one. It's not perfect, there are a few niggles and unbelievable elements. But for the most part, this is a brilliant film. Is it deserving of the hype? Absolutely. Is it deserving of the Oscar? Possibly. Most likely. It's definitely as deserving as 1917 was, despite them being polar opposites.
It takes a lot of concentration to watch a foreign language film and constantly read the subtitles, but Parasite is that interesting and entertaining that I virtually forgot it was in Korean. I was so enthralled by the life and schemes of the Kim family. What surprised me the most was how funny this was. I'd been expecting a serious drama and whilst it was serious in parts, the first half of the film is quite humorous watching the Kim family scheme their way into the lives of the Parks. It really is a crazy plot but that's what makes it so enjoyable to watch. And the final act of the film is bonkers yet a work of absolute genius - I never would've predicted that the film would turn out that way.
There are a lot of great things about this film - a fantastic script, a clear message on the divide between rich and popt and a plot spanning a variety of genres from drama, comedy to even horror. It's wonderfully directed too and there's no surprise on the Oscar for that one. It's not perfect, there are a few niggles and unbelievable elements. But for the most part, this is a brilliant film. Is it deserving of the hype? Absolutely. Is it deserving of the Oscar? Possibly. Most likely. It's definitely as deserving as 1917 was, despite them being polar opposites.
Emma @ The Movies (1786 KP) rated Yardie (2018) in Movies
Sep 25, 2019
This was the first film in quite some time that has had a trailer that accurately portrayed what you ended up viewing. So often I find I'm confused about something or, surprisingly, end up wondering where a clip from the trailer has actually gone during the film.
Yardie was a good watch. But... I don't really know. I honestly wish I knew what I didn't like about it, perhaps it's more accurate to say that I can't actually say what I was wowed by in it. The music is the one thing that I consistently enjoyed overall.
I'm familiar with the accent, but even I found it difficult to follow at the beginning, and while there's lingo too, it isn't difficult to decipher that in the context of the scenes. As we left the screen a woman behind me said she felt it needed subtitles, to which her boyfriend just laughed. As you go through the film it does get easier to understand, but there's no denying that it will lose some people on the journey. That being said, if they'd sacrificed the authentic accents then it wouldn't have been true to its roots.
I don't know the story it's based on, I would imagine the film is going to be fairly accurate giving the authenticity of everything involved. The ending of the film left me with no real feeling of pleasure considering the lead up to it.
What should you do?
You should see this one. I might not have enjoyed it as much as I was hoping but it's still an interesting story.
Movie thing you wish you could take home
That music.
Yardie was a good watch. But... I don't really know. I honestly wish I knew what I didn't like about it, perhaps it's more accurate to say that I can't actually say what I was wowed by in it. The music is the one thing that I consistently enjoyed overall.
I'm familiar with the accent, but even I found it difficult to follow at the beginning, and while there's lingo too, it isn't difficult to decipher that in the context of the scenes. As we left the screen a woman behind me said she felt it needed subtitles, to which her boyfriend just laughed. As you go through the film it does get easier to understand, but there's no denying that it will lose some people on the journey. That being said, if they'd sacrificed the authentic accents then it wouldn't have been true to its roots.
I don't know the story it's based on, I would imagine the film is going to be fairly accurate giving the authenticity of everything involved. The ending of the film left me with no real feeling of pleasure considering the lead up to it.
What should you do?
You should see this one. I might not have enjoyed it as much as I was hoping but it's still an interesting story.
Movie thing you wish you could take home
That music.
ClareR (5603 KP) rated Valkyrie (2008) in Movies
Jun 23, 2019
Surprisingly good!
I will hold my hands up and admit that I can be very critical of films set in Germany and particularly during the Second World War. I’m a bit of a germanophile - I studied German language, literature and history at university. I read into the furore that surrounded the making of this film: the Germans didn’t want Tom Cruise to play the main part because of his affiliation with Scientology (Germans believe it’s a cult, and therefore want nothing to do with it), and Claus von Stauffenberg’s eldest son even asked Cruise to stand down from the role. They all had a rethink though, and decided that it was more important that this story was actually told. And I have to agree with them. There’s a belief that all Germans were complicit in the actions of Hitler and his National Socialists, but this isn’t true. What might be true, is that people were terrified that they would be killed for any opposing thoughts or actions - and they were right.
I was really surprised (pleasantly!) by Cruises acting in this. After my initial horror at the opening sequence where he was talking in German (my children asked if he would be speaking German throughout, and were fully prepared to go to bed early - they didn’t want to read subtitles for a whole movie, I didn’t want to hear the shocking pronunciation!😆), it really picked up! The British actors really made it for me (I could well be accused of bias, but well, I don’t care 🤷🏼♀️), and Eddie Izzard was the most surprising - I really need to stop being surprised that he can act well!
It’s a good film! We had a good family film night anyway, and I think it’s worth watching.
I was really surprised (pleasantly!) by Cruises acting in this. After my initial horror at the opening sequence where he was talking in German (my children asked if he would be speaking German throughout, and were fully prepared to go to bed early - they didn’t want to read subtitles for a whole movie, I didn’t want to hear the shocking pronunciation!😆), it really picked up! The British actors really made it for me (I could well be accused of bias, but well, I don’t care 🤷🏼♀️), and Eddie Izzard was the most surprising - I really need to stop being surprised that he can act well!
It’s a good film! We had a good family film night anyway, and I think it’s worth watching.
Andy K (10821 KP) rated The Lighthouse (2019) in Movies
Nov 3, 2019
What the eff was that?
MINOR SPOILERS ONLY!!!!
I am trying to recall a time recently I left the theatre (I also don't go much any more) as bewildered as I did after watching The Lighthouse? My thought of comparing to Mother! would probably be the most appropriate. There is a lot of symbolism which I didn't really get right away or even events and characters which could be interpreted in different ways or having different points of view. I am sure I continue to digest the film over the next few days and remember details I cannot recall or am able to discuss here.
The film had such a unique look not only being black and white (although the white in the theatre I watched it in was more of a subtle yellow color)but also the aspect ratio was only 1.19:1 while most modern films are around 1:85:1 meaning this movie appeared as an almost perfect square. Much of the film was also dark, scratchy or whitewashed making it really appear as if you were watching a silent film or early "talkie".
Like writer/director Robert Eggers' freshman film and my recent 1st time watch, The Witch, I did find some of the dialect hard to follow at times (for The Witch, I actually turned the subtitles on). This is not a criticism, I was just concerned while watching I was going to miss some important plot point and since I was at the theatre, I couldn't stop and rewind it.
I can't say too much about the plot or even what the symbolism might be; however, I would love to discuss with anyone after viewing so let me know what you think as well.
Really loved it!
I am trying to recall a time recently I left the theatre (I also don't go much any more) as bewildered as I did after watching The Lighthouse? My thought of comparing to Mother! would probably be the most appropriate. There is a lot of symbolism which I didn't really get right away or even events and characters which could be interpreted in different ways or having different points of view. I am sure I continue to digest the film over the next few days and remember details I cannot recall or am able to discuss here.
The film had such a unique look not only being black and white (although the white in the theatre I watched it in was more of a subtle yellow color)but also the aspect ratio was only 1.19:1 while most modern films are around 1:85:1 meaning this movie appeared as an almost perfect square. Much of the film was also dark, scratchy or whitewashed making it really appear as if you were watching a silent film or early "talkie".
Like writer/director Robert Eggers' freshman film and my recent 1st time watch, The Witch, I did find some of the dialect hard to follow at times (for The Witch, I actually turned the subtitles on). This is not a criticism, I was just concerned while watching I was going to miss some important plot point and since I was at the theatre, I couldn't stop and rewind it.
I can't say too much about the plot or even what the symbolism might be; however, I would love to discuss with anyone after viewing so let me know what you think as well.
Really loved it!
Emma @ The Movies (1786 KP) rated Alpha (2018) in Movies
Sep 25, 2019
The origin of man's best friend, a heart warming story with some epic visuals.
I was slightly distracted for a while because my brain went "Keda's dad looks like Zod." Sorry if I've just distracted you with that too... you're welcome.
Somehow I managed to see an audio described release of this by accident and I was intrigued. As well as the films own subtitles you have all the sound commentary. I was struck by the fact that more than once they used the word "wince", which is visual, as an audio cue. He "winced in pain". Well yes he did wince, but you could see that, it should surely have said "cries with pain" or something similar?
Part of me is very glad that I didn't end up seeing this in 3D as I'd originally planned. On more than one occasion during the film I had to look away from the screen as I was getting dizzy or feeling slightly nauseous. So probably not one to see on the big screen if you have issues with motion sickness.
As I said at the beginning the visuals are amazing, and there are no obvious signs of the necessary digital intervention. It's a smooth film all the way through, nothing out of place. There's a snippet in the trailer where you see Keda tossed into the air by a buffalo, the extended version of this in the film is probably the best bit for me. It gave me that tense physical reaction to see larger than life, and thankfully didn't set off the vertigo! That all being said though, it's still just a pleasant film that goes where you expect it to.
I was slightly distracted for a while because my brain went "Keda's dad looks like Zod." Sorry if I've just distracted you with that too... you're welcome.
Somehow I managed to see an audio described release of this by accident and I was intrigued. As well as the films own subtitles you have all the sound commentary. I was struck by the fact that more than once they used the word "wince", which is visual, as an audio cue. He "winced in pain". Well yes he did wince, but you could see that, it should surely have said "cries with pain" or something similar?
Part of me is very glad that I didn't end up seeing this in 3D as I'd originally planned. On more than one occasion during the film I had to look away from the screen as I was getting dizzy or feeling slightly nauseous. So probably not one to see on the big screen if you have issues with motion sickness.
As I said at the beginning the visuals are amazing, and there are no obvious signs of the necessary digital intervention. It's a smooth film all the way through, nothing out of place. There's a snippet in the trailer where you see Keda tossed into the air by a buffalo, the extended version of this in the film is probably the best bit for me. It gave me that tense physical reaction to see larger than life, and thankfully didn't set off the vertigo! That all being said though, it's still just a pleasant film that goes where you expect it to.
BankofMarquis (1832 KP) rated Roma (2018) in Movies
Jan 16, 2019
A lush and beautiful memory
Alfonso Cuaron - the magnificent Director from Mexico who directed such big Hollywood hits as HARRY POTTER AND THE PRISONER OF AZKABAN (the best HP flick, IMHO) and GRAVITY (one of the best films of 2013, IMHO) has made a little "personal" film that was financed and released by Netflix. Netflix, in their wisdom, realized they might have an Oscar contender on it's hands, so has released ROMA in limited release to Theaters (mostly Art Houses) and...in some instances...you can catch a 70mm print of this film. Or...you can watch it on your TV via your Netflix subscription.
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gaspar Noe recommended Angst (2006) in Movies (curated)
RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
BankofMarquis (1832 KP) rated Drive My Car (2021) in Movies
Mar 19, 2022
Raw, Pure and Honest
If I’m being honest, I purposely pushed my Oscar “homework assignment” of viewing DRIVE MY CAR to the end of the list for I saw that it was a 3 Hour Japanese Film that is a meditation on loss, grief, anger and regret set against the backdrop of a production of Chekov’s Uncle Vanya. I was ready to buckle-in for an arty “Art House” film that is not as good as the “artists” recommending it would have you believe.
And I would be wrong with that assumption as DRIVE MY CAR is the BEST FILM of 2021 with raw, pure and honest performances that draws you in and touches your heart.
Directed by Ryusuke Hamaguchi (who was Oscar Nominated for his work), DRIVE MY CAR follows a renowned Actor/Director who heads to Hiroshima to Direct a production of Uncle Vanya while grappling with the consequences of the unexpected death of his wife - and the unresolved issues of their marriage. While in Hiroshima, he is forced to accept a chauffeur for his duration there and the relationship between the two begins to unlock long dormant emotions.
Sounds like it could end up being a modern version of DRIVING MISS DAISY, right? Wrong. In the hands of Hamaguchi, from an Oscar Nominated screenplay that Hamaguchi wrote with Takamasa Oe (based on the short story by Haruki Murakami), Drive My Car becomes a character-driven drama that peels the layers of the onion back at a deliberate pace (in this case, that’s a compliment) to reveal what is at the core of the main characters.
What drew me into this film (a movie who’s 3 hour run-time seemed short to me), was the performances that Hamaguchi was able to draw out of his talented cast, they are - top to bottom - raw, honest and real. Starting with Hidetoshi Nishijima as Actor/Director Yusuke Kafuku. He plays this character with a stoic pragmatism, but it is played in such a way that you understand that there are emotions broiling underneath this façade and they, eventually, will need to find their way out. But the brilliance of this film is that when this character finally opens up, it is not a showy, “yelly” performance, it is subtle, small - and effective.
Matching Nishijima’s stoicism (at least early on) is Toko Miura as the chauffer. She is enigmatic in the early goings of the film, listening much more than talking but as Kafuku opens up, she does as well, and it is this part of the film that really drew me in.
Also, surprisingly to me, was the rehearsal/performance scenes of Uncle Vanya that are sprinkled throughout this film. I am NOT a scholar (or fan) of Chekov’s works (I find them to be too introspective) but the scenes that are shown are a mirror to what is happening to these characters outside of the theater and were affecting (particularly a scene that the company does in the park between two female characters). I’m sure a Chekov scholar could comment on the parallel themes at work here - but I am not that scholar and that did not diminish my love of this film. It does do one surprising thing - it makes me (almost) want to see a full production of Vanya…almost.
And therein lies another layer to this film - the eclectic group of performers that populate the company of actors that perform Vanya - they perform in Japanese, Mandarin, English and (in one case) sign language. I was reading the subtitles anyway (yes, please view this film in it’s original language with subtitles - you’ll feel the emotions of the actors’ performances) and this disparity between the performers enhanced what was already an intriguing film.
Not for everyone, the pace and themes of this film will turn many off early on, but if you click into the feel of this film, you will be rewarded with a very rich experience.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
And I would be wrong with that assumption as DRIVE MY CAR is the BEST FILM of 2021 with raw, pure and honest performances that draws you in and touches your heart.
Directed by Ryusuke Hamaguchi (who was Oscar Nominated for his work), DRIVE MY CAR follows a renowned Actor/Director who heads to Hiroshima to Direct a production of Uncle Vanya while grappling with the consequences of the unexpected death of his wife - and the unresolved issues of their marriage. While in Hiroshima, he is forced to accept a chauffeur for his duration there and the relationship between the two begins to unlock long dormant emotions.
Sounds like it could end up being a modern version of DRIVING MISS DAISY, right? Wrong. In the hands of Hamaguchi, from an Oscar Nominated screenplay that Hamaguchi wrote with Takamasa Oe (based on the short story by Haruki Murakami), Drive My Car becomes a character-driven drama that peels the layers of the onion back at a deliberate pace (in this case, that’s a compliment) to reveal what is at the core of the main characters.
What drew me into this film (a movie who’s 3 hour run-time seemed short to me), was the performances that Hamaguchi was able to draw out of his talented cast, they are - top to bottom - raw, honest and real. Starting with Hidetoshi Nishijima as Actor/Director Yusuke Kafuku. He plays this character with a stoic pragmatism, but it is played in such a way that you understand that there are emotions broiling underneath this façade and they, eventually, will need to find their way out. But the brilliance of this film is that when this character finally opens up, it is not a showy, “yelly” performance, it is subtle, small - and effective.
Matching Nishijima’s stoicism (at least early on) is Toko Miura as the chauffer. She is enigmatic in the early goings of the film, listening much more than talking but as Kafuku opens up, she does as well, and it is this part of the film that really drew me in.
Also, surprisingly to me, was the rehearsal/performance scenes of Uncle Vanya that are sprinkled throughout this film. I am NOT a scholar (or fan) of Chekov’s works (I find them to be too introspective) but the scenes that are shown are a mirror to what is happening to these characters outside of the theater and were affecting (particularly a scene that the company does in the park between two female characters). I’m sure a Chekov scholar could comment on the parallel themes at work here - but I am not that scholar and that did not diminish my love of this film. It does do one surprising thing - it makes me (almost) want to see a full production of Vanya…almost.
And therein lies another layer to this film - the eclectic group of performers that populate the company of actors that perform Vanya - they perform in Japanese, Mandarin, English and (in one case) sign language. I was reading the subtitles anyway (yes, please view this film in it’s original language with subtitles - you’ll feel the emotions of the actors’ performances) and this disparity between the performers enhanced what was already an intriguing film.
Not for everyone, the pace and themes of this film will turn many off early on, but if you click into the feel of this film, you will be rewarded with a very rich experience.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)