Pineapple Express *
Genuinely one of the strangest films I have ever seen, in that it had no identity whatsoever, and was so very unsure of itself. Yet I suppose that this wasn't an issue the film-makers were too concerned with. It started as a to-the-tee steretypical 'stoner' flick, right from the cringeworthy soundtrack, all the way down to the gags about 'munchies'. Weirdly, via the catalyst of the action movie motif, the plot and style change direction, and temporarily seem to be promoting a moralistic, anti-drug mesage; only to be swiftly forgottten soon after with a return to the 'stoner' theme.
The action sequences were ridiculous, verging on the parodic. The jokes were unfunny, embarrasissingly so at some points. In fact, the only thing that made me laugh was knowing that Seth Rogen had written the script, in that he ahd given his character a hot, blonde high-school girlfriend who called him 'sexy' (and what bearing did this have on the storyline?).
Overall, I'd be uninclined to watch this whilst stoned due to the actual brutality of some of the images, however, watching this sober was no fun at all, which sums up the confused state of the film. If anyone finds a suitable state of mind in which this can be enjoyed, please let me know, as I seriously doubt it exists.
Tuesday 2 June 2009
Thursday 12 March 2009
Rosemary's Baby
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.
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.
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.
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