Rosemary's Baby *****
True horror, discomfort and dramatic irony of a conspiracy focused against one person. We, as spectators, are uncomfortably placed alongside Rosemary at the centre of a gruelling, terrible ordeal; slowly and gradually discovering that there really is no-one that we can trust. The horror of our position is heightened by the fact that we are on the outside looking in: hopeless, useless voyeurs reluctantly watching a satanic cult diminish Rosemary's Doris Day dream of motherhood.
The style of mise-en-scene, as well as awkwardness of performances, really captures author Ira Levin's chilling vision for the screen. Polanski's screenplay also relates to the book wonderfully, editing and removing some parts, whilst perfectly realising others. The dream sequence is the most brilliant and conceptual example of this, and possibly the defining moment of the film also, displaying Polanski's immense powers as a film-maker.
If you are seeking a jumpy, slasher-style horror, this film will not fulfil your criteria; what it will do, though, is psychologically chill and disturb you to a higher degree than any 'slasher' movie ever could.
Thursday 12 March 2009
Spiderman 3
Spiderman 3 **
Overall a confused and unsure-of-itself film, which lacks a self-belief that could have taken it to another level. The movie shakily begins by confirming Peter and M.J. as an established couple; yet makes a joke of Peter himself, causing him to become somewhat unlikeable as a character, but comedic nonetheless. As the film progresses, several threads are unwound, exposing four new imposing villains; one being a modified version of Spiderman himself.
The graphics and editing are generally weaker than could have been expected, a prime example being the sequences from the point-of-view of the deadly 'black venom' material. The narrative also moves jerkily, leaving us confused rather than delighted, and there is not enough depth within any of the branches, so we are left with tasters of what we were really hoping to experience. Despite this, there are a few redeeming factors, one being the performances given, most notably by James Franco as Harry and the New Goblin.
The climactic scene withint the film encapsulates the essence of superhero, and this is the only truly awesome scene throughout. Sandman and Venom prove to be a fearsome duo for a few minutes, and for once we are gripping the edge of our seats. The scene ends with the moral message of friendship, and we momentarily feel satisfied (however, we are soon brought back into the average world of Spiderman 3 with the compulsory 'funeral' scene).
This film is worth watching if only for the aforementioned scene, and will undoubtedly be enjoyed by a younger audience seeking thrills. Those imagining deeper, darker and more brilliant things, though, should seek out 2008's The Dark Knight, which delivers an incomparable version of the superhero movie.
Overall a confused and unsure-of-itself film, which lacks a self-belief that could have taken it to another level. The movie shakily begins by confirming Peter and M.J. as an established couple; yet makes a joke of Peter himself, causing him to become somewhat unlikeable as a character, but comedic nonetheless. As the film progresses, several threads are unwound, exposing four new imposing villains; one being a modified version of Spiderman himself.
The graphics and editing are generally weaker than could have been expected, a prime example being the sequences from the point-of-view of the deadly 'black venom' material. The narrative also moves jerkily, leaving us confused rather than delighted, and there is not enough depth within any of the branches, so we are left with tasters of what we were really hoping to experience. Despite this, there are a few redeeming factors, one being the performances given, most notably by James Franco as Harry and the New Goblin.
The climactic scene withint the film encapsulates the essence of superhero, and this is the only truly awesome scene throughout. Sandman and Venom prove to be a fearsome duo for a few minutes, and for once we are gripping the edge of our seats. The scene ends with the moral message of friendship, and we momentarily feel satisfied (however, we are soon brought back into the average world of Spiderman 3 with the compulsory 'funeral' scene).
This film is worth watching if only for the aforementioned scene, and will undoubtedly be enjoyed by a younger audience seeking thrills. Those imagining deeper, darker and more brilliant things, though, should seek out 2008's The Dark Knight, which delivers an incomparable version of the superhero movie.
The Lives of Others
The Lives of Others *****
A surprisingly amusing and uplifting tale, against the dark backdrop of 1980s G.D.R. The delight in this narrative is the transformation of stony Stasi Wiesler, who becomes reformed at the realisation of life's pleasures after monitoring and spying on playwright Georg Dreyman. Wiesler delightfully begins to live his own life through Dreyman, with moving and gripping twists and turns; and a gratifying ending. A truly evocative film, that must be watched.
A surprisingly amusing and uplifting tale, against the dark backdrop of 1980s G.D.R. The delight in this narrative is the transformation of stony Stasi Wiesler, who becomes reformed at the realisation of life's pleasures after monitoring and spying on playwright Georg Dreyman. Wiesler delightfully begins to live his own life through Dreyman, with moving and gripping twists and turns; and a gratifying ending. A truly evocative film, that must be watched.
Paris Je T'aime
Paris Je T'aime
This is less of a film, and more accurately a collection of numerous short films conveniently collated as an annotation (rather than celebration) of all things Parisian. Indeed, there is no common link or theme between the separate vignettes aside from Paris itself. For film enthusiasts, this is simply a veritable showcase of many great directors' work, with samples from the Cohen Brothers, Gurinder Chadha and Wes Craven to name but a few. With this in mind, Paris je T'aime is structured appropriately, introducing each segment by Parisian location and director.
The content of the vignettes is varied and diverse, reflecting the true nature of Paris. Themes seem to focus on comtemporary social issues such as racism, divorce and drug abuse; as well as more inherently Parisian motifs: colour, art, romance and, undoubtedly, love. The segments are presented in a well-considered order, taking us on a brilliant rollercoaster ride through Paris with tears, laughter, and also some confusion along the way.
Unfortunately, the final sequence attempts to link characters and scenarios from the different segments in a La Ronde-esque way, which is unnecessary and doesn't fit with the cut-and-paste feel of the rest of the film. Alexander Payne's final short film is extremely thought-provoking, and would have made for a far more effective ending.
Overall, an extremely worthwhile collection of work, providing a broad picture of Paris in the modern day from a wide selection of perspectives. A realistic and sometimes chequered outline of the city is given here, but the film could never be accused of de-romanticising Paris: that would be impossible.
This is less of a film, and more accurately a collection of numerous short films conveniently collated as an annotation (rather than celebration) of all things Parisian. Indeed, there is no common link or theme between the separate vignettes aside from Paris itself. For film enthusiasts, this is simply a veritable showcase of many great directors' work, with samples from the Cohen Brothers, Gurinder Chadha and Wes Craven to name but a few. With this in mind, Paris je T'aime is structured appropriately, introducing each segment by Parisian location and director.
The content of the vignettes is varied and diverse, reflecting the true nature of Paris. Themes seem to focus on comtemporary social issues such as racism, divorce and drug abuse; as well as more inherently Parisian motifs: colour, art, romance and, undoubtedly, love. The segments are presented in a well-considered order, taking us on a brilliant rollercoaster ride through Paris with tears, laughter, and also some confusion along the way.
Unfortunately, the final sequence attempts to link characters and scenarios from the different segments in a La Ronde-esque way, which is unnecessary and doesn't fit with the cut-and-paste feel of the rest of the film. Alexander Payne's final short film is extremely thought-provoking, and would have made for a far more effective ending.
Overall, an extremely worthwhile collection of work, providing a broad picture of Paris in the modern day from a wide selection of perspectives. A realistic and sometimes chequered outline of the city is given here, but the film could never be accused of de-romanticising Paris: that would be impossible.
La Vie en Rose
La Vie en Rose ****
This emotional account of the life of Edith Piaf gives great insight and understanding into her charming character. The structure of the film as a whole cleverly mimics the nature of memory, and the non-linear timeline works effectively, but is sometimes spoilt by subtitles informing "3 years later" or suchlike. This is unnecessary, and would work better if left more abstract, imitating Piaf's selective and wandering mind.
Another result of this structure is the restriction of certain information, for example, near the end we become aware that Piaf had a daughter who dies at a young age. It is somewhat frustrating to be presented with this so late into the movie, and it is impossible to buy into the storyline with anywhere near as much emotional currency as we do the rest of the narrative. Despite this, the gaps left do compel one to further research Piaf, within the context of the fascinating entire film.
The movie contains wonderful use of memorable and evocative imagery, including Piaf in a blindfold as a child, 'clown'-like lips in a brothel, and a floor covered with red roses by Piaf's lover. The performances are excellent (of course in particular the Oscar-winning and Oscar-worthy Marion Cotillard), and the music is exciting and uplifting. The thrill of Edith Piaf is truly captured here, for fans to love, and unfamiliars to discover from.
This emotional account of the life of Edith Piaf gives great insight and understanding into her charming character. The structure of the film as a whole cleverly mimics the nature of memory, and the non-linear timeline works effectively, but is sometimes spoilt by subtitles informing "3 years later" or suchlike. This is unnecessary, and would work better if left more abstract, imitating Piaf's selective and wandering mind.
Another result of this structure is the restriction of certain information, for example, near the end we become aware that Piaf had a daughter who dies at a young age. It is somewhat frustrating to be presented with this so late into the movie, and it is impossible to buy into the storyline with anywhere near as much emotional currency as we do the rest of the narrative. Despite this, the gaps left do compel one to further research Piaf, within the context of the fascinating entire film.
The movie contains wonderful use of memorable and evocative imagery, including Piaf in a blindfold as a child, 'clown'-like lips in a brothel, and a floor covered with red roses by Piaf's lover. The performances are excellent (of course in particular the Oscar-winning and Oscar-worthy Marion Cotillard), and the music is exciting and uplifting. The thrill of Edith Piaf is truly captured here, for fans to love, and unfamiliars to discover from.
Before Sunrise
Before Sunrise **
A dissection of relationships from honest, realistic and cynical viewpoints provides a refreshing break from Hollywood idealism for some. The (heavily dominating) dialogue is informed and raises some valid points, which are occasionally thought-provoking. However, there is a reason why a film like this hadn't been made before, that being that these banal musings are inherent in all of us pondering adults, and it is both boring and patronising to have them relayed to us in this way.
When not pragmatic or annotative, the dialogue strays to its moments of "romance", which are paradoxically annoyingly cheesy. This is partly due to the characteristic obviousness of the cocksure, repellent alpha male opposite a semi-feminist, het-up and too-blatantly 'beautiful' female.
For some, this will contain moments of romance and beauty, particularly against the backdrop of Vienna. However, for the less gullible, this will be predictable and disappointingly sickening.
A dissection of relationships from honest, realistic and cynical viewpoints provides a refreshing break from Hollywood idealism for some. The (heavily dominating) dialogue is informed and raises some valid points, which are occasionally thought-provoking. However, there is a reason why a film like this hadn't been made before, that being that these banal musings are inherent in all of us pondering adults, and it is both boring and patronising to have them relayed to us in this way.
When not pragmatic or annotative, the dialogue strays to its moments of "romance", which are paradoxically annoyingly cheesy. This is partly due to the characteristic obviousness of the cocksure, repellent alpha male opposite a semi-feminist, het-up and too-blatantly 'beautiful' female.
For some, this will contain moments of romance and beauty, particularly against the backdrop of Vienna. However, for the less gullible, this will be predictable and disappointingly sickening.
Monday 9 March 2009
Bunuel's fantastic Last Breath
My Last Breath (Luis Bunuel) *****
I'm biased as I'm extremely curious about Bunuel, but this is all you could ever want from a book: its fun, intriguing, informative and addictive. It meanders back and forth through time, across themes and ideologies and along a stream of consciousness, like a wonderful movie. In many ways, I see this as a 'lad's' book (please excuse my outright stereotypification); he spends almost a chapter raving about the joys of alcohol and tobacco (including his recipe for the perfect Martini), and there's lots of cavorting, rioting, perving and scandal. There are some extreme and fucked up notions in here too (an example of a Surrealist piece of artwork described involves a seven year old girl standing on stage in her Communion dress, reciting the dialogue from hardcore porn movie). But that's what makes this such a fun, controversial riot of a read . Yes, there's a lot of history: names, dates, eras, references; but its all contextual and its all relevant. If you have any interest in the Surrealists, the emergence of cinema, or the fantastic life of a subversive filmmaker (he befriends everyone from Salvador Dali to Charlie Chaplin), I strongly recommend this.
I'm biased as I'm extremely curious about Bunuel, but this is all you could ever want from a book: its fun, intriguing, informative and addictive. It meanders back and forth through time, across themes and ideologies and along a stream of consciousness, like a wonderful movie. In many ways, I see this as a 'lad's' book (please excuse my outright stereotypification); he spends almost a chapter raving about the joys of alcohol and tobacco (including his recipe for the perfect Martini), and there's lots of cavorting, rioting, perving and scandal. There are some extreme and fucked up notions in here too (an example of a Surrealist piece of artwork described involves a seven year old girl standing on stage in her Communion dress, reciting the dialogue from hardcore porn movie). But that's what makes this such a fun, controversial riot of a read . Yes, there's a lot of history: names, dates, eras, references; but its all contextual and its all relevant. If you have any interest in the Surrealists, the emergence of cinema, or the fantastic life of a subversive filmmaker (he befriends everyone from Salvador Dali to Charlie Chaplin), I strongly recommend this.
Man on Wire ****
A thoroughly rejuvinating and uplifting film, that shows us that anything is possible if you are ambitious and enthusiastic enough. Phillipe Petit's energetic craziness dominates and rubs off on the viewer, as it did his friends and participants. This true story is one of determination, friendship, loyalty and art; which captivates and moves us. One of the most striking factors of this movie is the use of original footage which shows balletic, graceful and breathtaking images of the art of wirewalking. This brings a little-known-about artform to the attention of a mass audience, and allows us to share in the talent, beauty and poignancy of it; whilst telling a funny yet emotional story with (almost unbelievably real) huge characters and animation. The film itslef is brilliantly researched and edited, making use of a variety of styles and techniques to keep our eyes and minds active. A rare, precious documnetary which should be cherished.
DVD Bang Experience
"I like to stand in line like everyone else because that creates anticipation. Buying the popcorn and the soft drink heightens the anticipation" (Setven Spielberg on the experience of cinema-going.)
Back home, you can choose whether to indulge in the ritualistic, experiential act of cinema-going; or the more relaxed, informal version of film-watching by renting a DVD, or downloading from a computer. Here in Korea, however, there is another completely different filmic experience to add to the list, and one which all movie-watchers should be interested in: the DVD Bang experience.
The DVD Bang is a part of a dark, strange, dream-like space in between Korea's sexually repressed overworld; and seedy yet uncontroversial underworld of love motels and "glass rooms". This bizzarre middle world is shared with norebangs (singing rooms) and PC Bangs (computer rooms), but has the worst reputation of the three; as here you have a private room in which you can watch a film of your choice, and a space in which to enjoy it in whatever way you choose, uninterrupted and unquestioned. Despite its bad reputation, the DVD Bang provides film enthusiasts with an exciting new way to experience their favourite medium.
After walking up a few flights of stairs, you will come to what looks like a DVD rental shop, with categorised rows of shiny DVDs. Under the watchful eye of the Korean attendant, you will carefully peruse these until you finally decide on the one to watch (if already familiar with the DVD Bang experience, this choice wil be far easier). There is a small snack bar, and fridge of non-alcholic drinks, if you are one who likes to munch through a film, although the popcorn is not freshly-made, and there are not separate members of staff to serve you. Once you are ready, you will be led down a dark corridor, decorated with hotel-like floral patterned wallpaper, and shown to your private capsule-like Bang (room). The attendant ensures you are comfortable, turns off the light, and leaves.
There are comfy chairs and footrests which encourage you to sit back, put your feet up, and wait for the images to appear on the huge screen before you. It's a similar feeling to anticipating the screen coming on in a cinema, though there are no adverts or trailers here. There are also no other audience members (apart from the friends you came with of course), which results in the hugest disparity between the DVD Bang and cinematic experiences. It is far more intimate and personal here, in fact there is an over-riding sense of privacy (there is not even a projectionist here, you are totally alone in your viewing), thus the semi-seediness can be detected in the air.
Once the movie begins, you are able to get just as lost in it as you would do elsewhere. The lack of other audeince members may encourage you to talk and audibly react to the film more than you would in a cinema, although I never felt the need to do so. There is no option to pause, rewind or fast-forward, so unlike watching at home, this experience provides a proper "screening" of the film. There is an added effect reminiscent of "interactive" or "4D" movies found in amusement parks: that of the vibrating chair! Your seat will shake with varying intensity, dependng on the film's audio track. I found this to be a fun, additional enjoyment to the pleasure of film-watching, but for those who are not so keen, there is the option of turning this function down, or off.
When the film finishes, you will turn the light back on (yourself) and leave the Bang you have inhabited for the last two hours or so, only to walk down the corridor and realise that there are many others like you, doing exactly as you did. You feel as though you are part of club, shared only with other DVD Bang-ers, who love watching movies just as much as you do.
Remember that the image quality will be less than the perfect, and the screen sometimes unclean (bear in mind that in effect, you are still watching a DVD). For this, as well as the "vibrating chair" factor, I have avoided arthouse, slower-paced movies, instead favouring full-on action, fantasy and horrors to share this experience with. Overall, I recommend this wonderfully weird, personal experience of film-watching that is great either with a small group of friends, or totally alone.
Back home, you can choose whether to indulge in the ritualistic, experiential act of cinema-going; or the more relaxed, informal version of film-watching by renting a DVD, or downloading from a computer. Here in Korea, however, there is another completely different filmic experience to add to the list, and one which all movie-watchers should be interested in: the DVD Bang experience.
The DVD Bang is a part of a dark, strange, dream-like space in between Korea's sexually repressed overworld; and seedy yet uncontroversial underworld of love motels and "glass rooms". This bizzarre middle world is shared with norebangs (singing rooms) and PC Bangs (computer rooms), but has the worst reputation of the three; as here you have a private room in which you can watch a film of your choice, and a space in which to enjoy it in whatever way you choose, uninterrupted and unquestioned. Despite its bad reputation, the DVD Bang provides film enthusiasts with an exciting new way to experience their favourite medium.
After walking up a few flights of stairs, you will come to what looks like a DVD rental shop, with categorised rows of shiny DVDs. Under the watchful eye of the Korean attendant, you will carefully peruse these until you finally decide on the one to watch (if already familiar with the DVD Bang experience, this choice wil be far easier). There is a small snack bar, and fridge of non-alcholic drinks, if you are one who likes to munch through a film, although the popcorn is not freshly-made, and there are not separate members of staff to serve you. Once you are ready, you will be led down a dark corridor, decorated with hotel-like floral patterned wallpaper, and shown to your private capsule-like Bang (room). The attendant ensures you are comfortable, turns off the light, and leaves.
There are comfy chairs and footrests which encourage you to sit back, put your feet up, and wait for the images to appear on the huge screen before you. It's a similar feeling to anticipating the screen coming on in a cinema, though there are no adverts or trailers here. There are also no other audience members (apart from the friends you came with of course), which results in the hugest disparity between the DVD Bang and cinematic experiences. It is far more intimate and personal here, in fact there is an over-riding sense of privacy (there is not even a projectionist here, you are totally alone in your viewing), thus the semi-seediness can be detected in the air.
Once the movie begins, you are able to get just as lost in it as you would do elsewhere. The lack of other audeince members may encourage you to talk and audibly react to the film more than you would in a cinema, although I never felt the need to do so. There is no option to pause, rewind or fast-forward, so unlike watching at home, this experience provides a proper "screening" of the film. There is an added effect reminiscent of "interactive" or "4D" movies found in amusement parks: that of the vibrating chair! Your seat will shake with varying intensity, dependng on the film's audio track. I found this to be a fun, additional enjoyment to the pleasure of film-watching, but for those who are not so keen, there is the option of turning this function down, or off.
When the film finishes, you will turn the light back on (yourself) and leave the Bang you have inhabited for the last two hours or so, only to walk down the corridor and realise that there are many others like you, doing exactly as you did. You feel as though you are part of club, shared only with other DVD Bang-ers, who love watching movies just as much as you do.
Remember that the image quality will be less than the perfect, and the screen sometimes unclean (bear in mind that in effect, you are still watching a DVD). For this, as well as the "vibrating chair" factor, I have avoided arthouse, slower-paced movies, instead favouring full-on action, fantasy and horrors to share this experience with. Overall, I recommend this wonderfully weird, personal experience of film-watching that is great either with a small group of friends, or totally alone.
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