The Conjuring, James Wan: 2.5 / 4
review
La Strada, Federico Fellini: 1.5 / 4
This was a tough one to get through. I was unable to connect with any of the characters. I felt significant discomfort watching Gelsomina's life unfold, and each of Zampano's actions felt like a gut punch. It was a uniquely dark, discomforting film which on paper should've been a slam dunk. It just didn't work for me. Fellini's style did nothing for me, the only token I got from this was a solid final scene. That is it.
Preservation, Christopher Denham: 2 / 4
review
The Piano Teacher, Michael Haneke: 2 / 4
A deeply dark, disturbing film from Haneke, but that's not really surprising. After watching two of his films, his deeply psychological style seems engrained in both. In this, Isabelle Huppert does a masterful job portraying the dark side of excellence. To truly be great, Erika must raise her intensity to inhuman levels. She becomes consumed by desire, by lust. Her extreme mastery at piano must be equalized, brought to equilibrium. This can occur only if she herself becomes sexually mastered and controlled. Yet once this occurs she feels pain; it's not the relief she'd hoped for. Yet she goes back again. It's a dark spiral into the depths of hell. The story is surprisingly human, but not in the ways we'd wish; it reaches deep into areas of humanity whose existence we deny. This film is uncomfortable not because of the violence, but because of its confrontational nature.
4.20.2015
4.15.2015
Preservation, Christopher Denham
I struggle to evaluate this film. It begins stereotypically as a horror film does, with characters quipping about the impossibility of what's about to occur. The dialogue is subpar, and anything interesting about the characters is never delved into deeper. It's set up in a certain way, yet nothing comes from the set-up. The deaths feel unearned, insignificant, except perhaps for the final.
This film is almost two films. The first part is standard for a horror film, with the set-up, the psychological conflicts, then the deaths. But new ideas are introduced once Wit transforms from the hunted to the hunter. The film switched emphasis to the adolescent killers, sort of attempting to dissect their motives. Yet this dissection isn't through dialogue; it's through text messaging. Through their communication we're able to see their sort of bipolarity, acting like innocent children and deranged killers simultaneously. This film is almost some sort of political statement about this new "tech" generation. It's unique in the cinematic shift, yet I found it to be incredibly unintelligent at times. I feel like half this movie was wasted; whichever way they were gonna go, they should've stayed consistent through its duration.
Also, was not expecting Pornstache and Kenny Cosgrove! Kenny weirdly was the same character as in Mad Men. Pornstache (or Nick Sobotka if you're cultured) was terribly underutilized in this film, so disappointing.
2 / 4
This film is almost two films. The first part is standard for a horror film, with the set-up, the psychological conflicts, then the deaths. But new ideas are introduced once Wit transforms from the hunted to the hunter. The film switched emphasis to the adolescent killers, sort of attempting to dissect their motives. Yet this dissection isn't through dialogue; it's through text messaging. Through their communication we're able to see their sort of bipolarity, acting like innocent children and deranged killers simultaneously. This film is almost some sort of political statement about this new "tech" generation. It's unique in the cinematic shift, yet I found it to be incredibly unintelligent at times. I feel like half this movie was wasted; whichever way they were gonna go, they should've stayed consistent through its duration.
Also, was not expecting Pornstache and Kenny Cosgrove! Kenny weirdly was the same character as in Mad Men. Pornstache (or Nick Sobotka if you're cultured) was terribly underutilized in this film, so disappointing.
2 / 4
4.12.2015
Film: 4/5-4/11
Like Someone In Love, Abbas Kiarostami: 2.5 / 4
This film tells a story in a distinctly. The humans are so interesting; the emotions of the student and the actions of the professor are puzzling, yet sensible. This film has really grew on me, as I reflect a week later. It was peculiar and unique. Some scenes were magnanimous, really....incredible. Kiarostami's got a Palme d'Or, and it's not completely unexpected after watching this film.
It Felt Like Love, Eliza Hittman: 2 / 4
Here's another dark and devastating teen drama which is just a pain to watch. Is it really that bad? I guess that's what Europeans ask about Mean Girls. But really...I hope it's not like this. I read on wiki that it took place in Brooklyn. I was amazed; it didn't seem American at all. It didn't seem attached to any sort of place. It was some dark alternate universe where everything is shit. My evaluation of dark movies is usually quite simple: What did we gain from our descent into darkness? The answer here, is nothing. It was dark for the sake of being dark. The only time that's acceptable is if it's Refn or something. The darkness must be beautiful. The Hunt is an example of a film that descends into darkness and pulls something out. That something, it oozes humanity. That film offers an interpretation of humanity. There's none of that here.
Days Of Heaven, Terrence Malick: 3.5 / 4
With this film, Malick has leapfrogged into my director hierarchy, probably somewhere around 5-7. I'd seen The Tree Of Life, but never really understood it. I understand what this is, and why it's great. It's shot beautifully, with a clear understanding of how to make things look beautiful. Of the main characters, there is ambiguity, because we don't see their emotion, but it's there. Trying to figure out Bill and Abby felt like an intellectual experience. This film had a certain glow to it, and I'll certainly continue with Malick to rekindle that glow. I anticipate to embark on To the Wonder within the month.
This film tells a story in a distinctly. The humans are so interesting; the emotions of the student and the actions of the professor are puzzling, yet sensible. This film has really grew on me, as I reflect a week later. It was peculiar and unique. Some scenes were magnanimous, really....incredible. Kiarostami's got a Palme d'Or, and it's not completely unexpected after watching this film.
It Felt Like Love, Eliza Hittman: 2 / 4
Here's another dark and devastating teen drama which is just a pain to watch. Is it really that bad? I guess that's what Europeans ask about Mean Girls. But really...I hope it's not like this. I read on wiki that it took place in Brooklyn. I was amazed; it didn't seem American at all. It didn't seem attached to any sort of place. It was some dark alternate universe where everything is shit. My evaluation of dark movies is usually quite simple: What did we gain from our descent into darkness? The answer here, is nothing. It was dark for the sake of being dark. The only time that's acceptable is if it's Refn or something. The darkness must be beautiful. The Hunt is an example of a film that descends into darkness and pulls something out. That something, it oozes humanity. That film offers an interpretation of humanity. There's none of that here.
Days Of Heaven, Terrence Malick: 3.5 / 4
With this film, Malick has leapfrogged into my director hierarchy, probably somewhere around 5-7. I'd seen The Tree Of Life, but never really understood it. I understand what this is, and why it's great. It's shot beautifully, with a clear understanding of how to make things look beautiful. Of the main characters, there is ambiguity, because we don't see their emotion, but it's there. Trying to figure out Bill and Abby felt like an intellectual experience. This film had a certain glow to it, and I'll certainly continue with Malick to rekindle that glow. I anticipate to embark on To the Wonder within the month.
The Conjuring, James Wan; Musings on Horror
This movie provokes fear; it makes the viewer to imagine the worst, and then the worst occurs. The supernatural activity in this movie is truly terrifying; in fact, it's probably the scariest movie I've watched (This isn't too significant, I haven't seen much). There's a distinction I should make here; I've been more uncomfortable during a film (Nymphomaniac, Antichrist), but these moments were more of pure disgust. Back to The Conjuring. I contemplated stopping it several times, asking myself why I wanted to endure. Yet I continued. There're just enough breaks to get through it. This movie feels well done, but I didn't really gain much from it. A story was told, but with no deeper significance. Essentially my insight from this film: "don't fuck with demons." Compare that with Rosemary's Baby, for instance, which has Mia Farrow's character, whose plight is so emphatically devastating. That's more psychological horror. Another horror film I really enjoyed: You're Next. This is more of the Scream ilk, but smarter; it's somewhat satirical and scary, yet it's comfortable. This felt like the maximum potential of a more commercial horror film. Characters were caricatures of those in our lives, yet those caricatures were twisted and deformed to something completely different; This film flips tremendously.
I'd recommend all three of these films, but my ratings indicate a certain emphasis. It's quite interesting, after so long with little consumption of horror, each film in this genre feels like a revelation. I'm excited to continue on with The Babadook and eventually It Follows.
The Conjuring 2.5 / 4
Rosemary's Baby 3.5 / 4
You're Next 3.5 / 4
Labels:
horror,
james wan,
rosemary's baby,
the conjuring,
you're next
4.10.2015
Film: 3/29-4/4
Antichrist, Lars von Trier: 2.5 / 4
The reputation of this film was intimidating, and I wasn't sure if I'd ever endure it. Much of it was riveting, and there were parts, two specifically, which utterly disgusted me. But von Trier's style makes the experience worthwhile. This marks my completion of the Depression trilogy. If there's any consistency in all three films, it's Charlotte Gainsbourg: her performances are spectacular, each in a different way.
The Unbelievers, Gus Holwerda: 1.5 / 4
A film about two prominent scientists promoting the acceptance of rationalist views over religious. It merely grazes the surface of arguments, nothing meaningful is presented. Much too "macro" for my taste.
Going Clear, Alex Gibney: 3 / 4
If you were wondering about all the fuss regarding Scientology was about, it's all laid out here. Everything about this "religion" and its followers is incredibly terrifying, yet also riveting. Tom Cruise, whose personality seems very likable commercially is revealed in a different light here. This film definitely showcases darkness in religion and ultimately humanity.
A Serious Man, Joel & Ethan Coen: 3 / 4
Another highly entertaining Coen brothers film, one that really showcases the absurdity the Coens see in the world. The comedy seems less "in-your-face" than, say, Burn After Reading, but it's prominent. Everything works in this film. The line between drama and comedy is towed, but choices are made at the end which really make it a comedy.
Fast & Furious 6, Justin Lin: 2.5 / 4
People watch this because of the characters. They want to share a couple hours with Dom, Brian, and the gang. This series understands itself perhaps more than any other I can think of. The absurdity of the action is embraced and emphasized. I heard on a podcast the comparison of the characters to superheroes and let me tell you: Dom Toretto is a superhero. He's indestructible, and so are his chums, because of family... Let me tell you, this film is pure escapist.
Selma, Ava DuVernay: 2.5 / 4
I watched this in a theater, and couldn't hear enough of the dialogue well enough to put much weight on this rating. This film is standard, yet still thought-provoking. Once I watch it subtitled I'm sure I'll have a stronger (and hopefully better) evaluation of this.
The reputation of this film was intimidating, and I wasn't sure if I'd ever endure it. Much of it was riveting, and there were parts, two specifically, which utterly disgusted me. But von Trier's style makes the experience worthwhile. This marks my completion of the Depression trilogy. If there's any consistency in all three films, it's Charlotte Gainsbourg: her performances are spectacular, each in a different way.
The Unbelievers, Gus Holwerda: 1.5 / 4
A film about two prominent scientists promoting the acceptance of rationalist views over religious. It merely grazes the surface of arguments, nothing meaningful is presented. Much too "macro" for my taste.
Going Clear, Alex Gibney: 3 / 4
If you were wondering about all the fuss regarding Scientology was about, it's all laid out here. Everything about this "religion" and its followers is incredibly terrifying, yet also riveting. Tom Cruise, whose personality seems very likable commercially is revealed in a different light here. This film definitely showcases darkness in religion and ultimately humanity.
A Serious Man, Joel & Ethan Coen: 3 / 4
Another highly entertaining Coen brothers film, one that really showcases the absurdity the Coens see in the world. The comedy seems less "in-your-face" than, say, Burn After Reading, but it's prominent. Everything works in this film. The line between drama and comedy is towed, but choices are made at the end which really make it a comedy.
Fast & Furious 6, Justin Lin: 2.5 / 4
People watch this because of the characters. They want to share a couple hours with Dom, Brian, and the gang. This series understands itself perhaps more than any other I can think of. The absurdity of the action is embraced and emphasized. I heard on a podcast the comparison of the characters to superheroes and let me tell you: Dom Toretto is a superhero. He's indestructible, and so are his chums, because of family... Let me tell you, this film is pure escapist.
Selma, Ava DuVernay: 2.5 / 4
I watched this in a theater, and couldn't hear enough of the dialogue well enough to put much weight on this rating. This film is standard, yet still thought-provoking. Once I watch it subtitled I'm sure I'll have a stronger (and hopefully better) evaluation of this.
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