Rosemary's Baby, Roman Polanski: 3.5 / 4
This is an exceptional horror flick. One that showcases the greatness of Mia Farrow. Her character is intensely lovable, yet there aren't any characters who consider her best interests at all. As the suffering of Rosemary (Farrow) builds, Polanski takes us through a devastating trail of anguish. Rosemary sinks deeper and deeper, until she reaches a point at which there is truly no escape. The result: an inexpressively grand statement on ideas of hate, and especially love.
Funny Games, 1997, Michael Haneke: 2.5 / 4
The viewer is forced into a perpetual state of discomfort. There's no other way to explain this film. The terror never ends. I experienced little to no enjoyment from this film, yet some of its defining characteristics cannot be overlooked. Haneke expanded the boundaries that a truly great film is permitted to work from. His choice to showcase violence prominently through sound was entirely powerful, if only for the potential of such an idea. His use of the camera was undoubtedly unique, searching deeper within characters to find even more. The style used seemed to force improvisation by the actors/actresses. But the idea that had the most influence on me, led to an occurrence that was utterly shocking. The villians' complete control of outcome, their ability to literally rewind, it left me with a certain emptiness.
Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb, Stanley Kubrick: 2.5 / 4
I watched this in a more social environment, also without subtitles. I wasn't able to follow the film to the degree that I would've liked. But based on my prior viewing of this film, I can attest to certain great qualities. The idea of the "Doomsday device" is fascinating to think about. Dr. Strangelove himself is an incredible metaphor for something, I'm not sure what. I feel a strong desire to watch this again, after all, Can one really regret watching a Kubrick?
Midnight In Paris, Woody Allen: 3 / 4
For some reason, I've yet to see Annie Hall, the pinnacle of Woody Allen; I continue to watch some of his other films. I chose this one simply because of the great cover and my continuing journey through Léa Seydoux's work. Her role really isn't significant here and I found myself loving this film for other reasons. I loved the idea of Owen Wilson's character, a former sellout turned aspiring artist. Once Gil (Wilson) enters into the past and encounters some of the great icons of art (I use art loosely here, capturing literature as well), I was in. The interactions of the greatest minds of our time is peak cinema (at least idealistically). This film made me want to read Hemingway. This film showed an idealized Paris, but nonetheless one that seems to offer the highest potential for an artist. Although this film lacked transcendence, its execution of the premise alone wins serious points.
The Great Gatsby, 1974, Jack Clayton: 2 / 4
possible Gatsby piece, exploration of two films, novel.
Blue Ruin, Jeremy Saulnier: 3 / 4
A well-executed revenge flick that modifies itself into a tale of two distinct families. It's a creative screenplay that's exactly as the title suggests it is. The interesting aspect of this film is the elevation of one man to levels he probabilistically shouldn't have achieved. One he's there, it makes for an incredulous situation where soul-searching must occur.
12 Years a Slave, Steve McQueen: 3 / 4
possible review incoming
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