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JT (287 KP) rated King of Devil's Island (2011) in Movies
Mar 10, 2020
Any story about rebelling against the system is generally going to get an audience, people love an underdog story and King of Devil’s Island is a chilling one, in almost the literal sense.
Erling (Helstad) is a troubled individual and when he makes the journey to the island of Bastoy his stay is not going to be a pleasant one, but one of hardship and manual labour. Under the watchful eye of Bestyreren (the ever brilliant Skarsgård) he has to follow the rules or face punishment in the worst form possible, and that’s after trying to battle the freezing Nordic winters.
Even when he is read the rules the only thing on his mind is escape, failed attempts only bring more pain and misery. Inside he manages to share a bond with some of the other boys, but those who have been there for longer know the rules and rarely step out of line.
Along the way he is forced to deal with the harsh reality of the situation, and when Bestyreren let’s the return of vicious guard Bråthen back into the borstal the revolt begins. The Norwegian surroundings are an unforgiving place especially in this environment as Erling finds out the hard way, in one punishment he is made to move massive rocks from one spot on the ground to the other.
There is a sense that Bestyreren’s motives are for the good of the boys he presides over, he is harsh but fair and if anything he has empathy for them although he doesn’t show it. Turning them from outcast delinquents into responsible men.
The acting is solid, Skarsgård is always a commendable actor and turns in a decent performance, Benjamin Helstad also does a great job for someone quite unknown in world cinema. But Holst captures the essence for the need to survive and break the so called chains, it’s a powerful film, but then most Norwegian films that I have seen lately have been like that.
Erling (Helstad) is a troubled individual and when he makes the journey to the island of Bastoy his stay is not going to be a pleasant one, but one of hardship and manual labour. Under the watchful eye of Bestyreren (the ever brilliant Skarsgård) he has to follow the rules or face punishment in the worst form possible, and that’s after trying to battle the freezing Nordic winters.
Even when he is read the rules the only thing on his mind is escape, failed attempts only bring more pain and misery. Inside he manages to share a bond with some of the other boys, but those who have been there for longer know the rules and rarely step out of line.
Along the way he is forced to deal with the harsh reality of the situation, and when Bestyreren let’s the return of vicious guard Bråthen back into the borstal the revolt begins. The Norwegian surroundings are an unforgiving place especially in this environment as Erling finds out the hard way, in one punishment he is made to move massive rocks from one spot on the ground to the other.
There is a sense that Bestyreren’s motives are for the good of the boys he presides over, he is harsh but fair and if anything he has empathy for them although he doesn’t show it. Turning them from outcast delinquents into responsible men.
The acting is solid, Skarsgård is always a commendable actor and turns in a decent performance, Benjamin Helstad also does a great job for someone quite unknown in world cinema. But Holst captures the essence for the need to survive and break the so called chains, it’s a powerful film, but then most Norwegian films that I have seen lately have been like that.
JT (287 KP) rated Into The Abyss (2011) in Movies
Mar 10, 2020
Every now and again I like to leave the fictional world of film and take a trip into reality. I did so with Into the Abyss. A film by Werner Herzog (Rescue Dawn) it looks at the always controversial capital punishment, and focuses on one particular triple murder in the state of Texas.
Using actual footage of the crime scenes which is disturbing enough, Herzog also draws on the real life interviews of those involved and how it has affected their lives. It also explains to us what causes a person to commit murder, and if taking a life for a life really is worth it in the long run.
What is the most shocking with this film is the complete lack of remorse both inmates have. Michael Perry the condemned, man is courteous and polite in his responses as he sits looking through the perspex glass that separates him from Herzog.
As Herzog states at their first meeting he doesn’t particularly like him but he has respect for him, more than likely due in part to the honestly of his answers and how he’s dealing with certain death. The other is Jason Burkett, sentenced to life for his part in the crime, he won’t get out until much past sixty-five, a terrifying prospect when you’re only in your twenties.
Burkett still tries to command a normal life, married to someone on the outside who he rarely gets to touch physically they have a child on the way, although the conception is kept a closely guarded secret, despite advances to find out by Herzog. Both men have always blamed the other and both claimed their innocence.
The film is broken down into chapters, opening with a somber account of life and death from The Reverend Richard Lopez, the man that holds the hand of those sent to death, for their final walk into the unknown. It then quickly moves to an in-depth look at the murders, the how, the why and the where? This all makes for an impactul watch.
Using actual footage of the crime scenes which is disturbing enough, Herzog also draws on the real life interviews of those involved and how it has affected their lives. It also explains to us what causes a person to commit murder, and if taking a life for a life really is worth it in the long run.
What is the most shocking with this film is the complete lack of remorse both inmates have. Michael Perry the condemned, man is courteous and polite in his responses as he sits looking through the perspex glass that separates him from Herzog.
As Herzog states at their first meeting he doesn’t particularly like him but he has respect for him, more than likely due in part to the honestly of his answers and how he’s dealing with certain death. The other is Jason Burkett, sentenced to life for his part in the crime, he won’t get out until much past sixty-five, a terrifying prospect when you’re only in your twenties.
Burkett still tries to command a normal life, married to someone on the outside who he rarely gets to touch physically they have a child on the way, although the conception is kept a closely guarded secret, despite advances to find out by Herzog. Both men have always blamed the other and both claimed their innocence.
The film is broken down into chapters, opening with a somber account of life and death from The Reverend Richard Lopez, the man that holds the hand of those sent to death, for their final walk into the unknown. It then quickly moves to an in-depth look at the murders, the how, the why and the where? This all makes for an impactul watch.
Gareth von Kallenbach (971 KP) rated Demolition (2016) in Movies
Aug 6, 2019
It is often said that when we lose a loved one, we often lose a part of ourselves. In mourning, we have to come to terms with the loss and where we are headed in the future. Who are we now that part of us is gone? Demolition starring Jake Gyllenhaal and Naomi Watts discusses the various aspects with healing and finding oneself. Davis Mitchell (Jake Gyllenhaal) returns to work after losing his wife in a horrific car accident.
While grieving, he writes a complaint letter to a vending machine company about a recent experience he had while waiting in the hospital. Through the letters he lets a stranger and the audience in on his mindset and the reality that he feels disconnected from the world, his wife, and himself. When the company’s customer service rep reads the letters, she feels compelled to contact Davis. She offers a sympathetic ear to his pain and numbness. As their friendship grows, he begins to rebuild his life. The task is large and requires him to follow the advice that his father-in-law passed down to him; In order to fix something, sometimes you need to take it all apart in order to see how it works. Davis begins to deconstruct various pieces of his life in order to find peace with his loss so he can move forward.
Demolition offers a unique and provocative look at loss, grief, and identity. This is a film that will have its audience asking questions about their own lives and if they feel fulfilled or satisfied. The plot stays with you. The performances of each of the characters carries the story and makes us truly connect with them. There isn’t a single moment when you cease to care about who they are or what their lives have in store. There is depth and authenticity throughout this film.
While grieving, he writes a complaint letter to a vending machine company about a recent experience he had while waiting in the hospital. Through the letters he lets a stranger and the audience in on his mindset and the reality that he feels disconnected from the world, his wife, and himself. When the company’s customer service rep reads the letters, she feels compelled to contact Davis. She offers a sympathetic ear to his pain and numbness. As their friendship grows, he begins to rebuild his life. The task is large and requires him to follow the advice that his father-in-law passed down to him; In order to fix something, sometimes you need to take it all apart in order to see how it works. Davis begins to deconstruct various pieces of his life in order to find peace with his loss so he can move forward.
Demolition offers a unique and provocative look at loss, grief, and identity. This is a film that will have its audience asking questions about their own lives and if they feel fulfilled or satisfied. The plot stays with you. The performances of each of the characters carries the story and makes us truly connect with them. There isn’t a single moment when you cease to care about who they are or what their lives have in store. There is depth and authenticity throughout this film.
Gareth von Kallenbach (971 KP) rated To Rome with Love (2012) in Movies
Aug 7, 2019
Before I even begin, I have something to admit, I am not very knowledgeable about Woody Allen. Sure, I have seen the occasional film and have overheard gossip but I am not a Woody Allen buff. To remedy this, I considered running out and renting every one of his films in an attempted cinematic cram session. But I decided not to. There are some people who go to the movies just to enjoy themselves and that is as good of a reason to see a film as any other.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
Offering amplified versions of reality, “To Rome with Love” simultaneously feels close to home and utterly foreign. And this ebb and flow defines the entire picture.
With a blend of actors the film runs a marathon of bipolar juxtaposition. From familiar Hollywood faces, playing characters so typified that they needn’t be explained, to European actors, who bring honest perspective to the tourist filled environment.
And “To Rome with Love” is unexpected. There’s a Baldwin in a self-reflective role. Roberto Benigni plays a character that is downright drab. All while sharing a series of stories that question the absurd nature of the human experience.
The film shakes viewers up by exposing them to moments so stereotypic that are simple to grasp yet impossible to believe. And the result is effortless comedy.
Moreover, using only simple effects, strategic angular tricks and precise framing of scenes, “To Rome with Love” gets the audience thinking. The result is an hour and forty minutes that fly by like a dense vacation, too good to explain to your friends back home.
While I will avoid the pretentious research and amplified hyper analysis that follows Woody Allen, I do want to make one point clear; this is a film that anyone, regardless of interest in film study, is apt to enjoy, sure to find funny, and for a few might, even serve as a launch pad to into the cinema of the human condition.
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