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Batman Begins (2005)
The greatest superhero origin story I've seen.
One thing I'll say before talking about th e film in depth is that the film Batman Begins is no where near goofiness of the 60's or the Gothic outlandishness of the 90's that both gave us two examples of different adaptations of the DC staple Batman. Here Boyle distances himself from Schumacher's infamous Batman & Robin with the stark, stripped down and pitch black Batman Begins.
In a word, it's fascinating. The performances are fantastically executed throughout particularly from Christian Bale and Cillian Murphy, playing primary antagonist and conjurer of nightmares Scarecrow. All of the actors handling the dimensions of their characters do it very well and all have very distinct ideas of what they are doing and where they are going with their characters.
The film appears as not even a superhero film really as the characters are all extremely realistic and human and the Gotham that is presented is very involving and encircles the audience with a vice- like grip throughout the film's duration. The themes of imprisonment, betrayal, grief, revenge and power all help weave a dark chapter of the Batman.
From Dusk Till Dawn (1996)
More enjoyable when not taken seriously!
From Dusk till Dawn is like The Devil's Rejects meets The Lost Boys, with the harshness of one and the goofiness of the other. Its a fun ride throughout and generally seems to have the right idea about making a film like this, don't take it seriously! With Rodgriguez at the helm it would've been hard to achieve a serious film anyway.
Tarantino gives a surprisingly decent performance and isn't doomed to give the kind of acting that directors, singers and models usually give. Clooney steals the show completely and is fantastic as a relentlessly professional criminal/thief.
This one really is NSFW, with profanity in almost every single sentence and themes of sexual violence, murder and general demonic possession throughout. The ending is one of the most fascinating play ons for a sequel I've seen in a film and slightly alters the tone from fun to actually quite creepy. Have yet to see the sequels.
Recommended.
Mr. Jones (2013)
Nail-biting terror becomes nail-filing boredom.
I was inspired to watch Mr Jones simply because of my love and fascination for the found-footage genre that has become so popular in the past decade, however this is no REC or Blair Witch Project.
Mr Jones is a horror flick that begins with prophesying beauty and an artsy introduction that would probably throw off a mainstream audience from the get go, which is kindly of the director to do really, because Mr Jones doesn't pretend to be normal and I respect that. Unfortunately, it does seem to take itself too seriously to be considered serious at all, in its attempts at being a memorably scary film.
It has its moments for sure, there were times watching Mr Jones that I was genuinely shook and in fear, which makes it even sadder when it declines to a scramble from idea to idea. Mr Jones just cant find its footing. Is it a found- footage story of survival? Is it a mind- bending Lynchian dreamscape? Is it a slasher film? Who the hell knows, but what we do know is that the director, cast and everyone else involved really don't seem to know either, this is obvious.
The acting is good and the idea behind the story could've been brilliant as it is original and creepy, but its smothered under lashings of a scrambled script and frantic meandering of the plot. At the end, Mr Jones is unfortunately nothing but a pile of twigs and dirt.
Not recommended.
Emergo (2011)
Clunky script, boring Luke-warm horror.
Apartment 143 is surprisingly bad, I was really quite disappointed with it. From the trailer, the cast and the plot I figured that it would be quite a good film but it really isn't.
The story is really Grave Encounters meets August: Osage County with half the picture weaving a spooky story of ghouls and paranormal activity, whilst the other half literally involves nothing but the counselling of a seriously uncharismatic family. As is usually the way, the troubled father is just boring, the angsty teen seems spoilt and the ghost hunters are background props with absolutely no development of character whatsoever. The little kid is cute though.
The amount of clichés are gargantuan with the film including slamming doors, a deceased mother, a child communicating with the spirits, possession, electrical interference and surveillance footage. Of course these are in fact timeless conventions of the supernatural genre, however unfortunately in Apartment 143, they just seem so tried and tested it makes the whole film hysterically boring.
Not recommended. 3/10
Chloe (2009)
A character piece; Polanski's Carnage meets Fatal Attraction
We all have those actors we never really manage to click with, whom most likely have some kind of obvious promise and talent but just don't sit well with us and mine has always been Seyfried. I just don't like her, I think she's overrated.
Chloe however is underrated as I hadn't ever heard the name of the film before, even though the actors involved such as Liam Neeson and Julianne Moore are household names. It wouldn't appeal to everyone, the film isn't funny, scary, thrilling or anything as such but its an intricate character piece and is more or less fascinating to experience. Think Fatal Attraction meets Roman Polanski's Carnage.
There's a heavy amount of character development throughout which always prompts perspective of a benevolent director, he knows what the audience wants and promises something we only receive ten minutes before the end. Unfortunately for Egoyan's audience, it's slightly anti- climactic and we're left with plenty of unanswered questions.
The acting is fantastic, really. Even from Amanda Seyfried who I've already mentioned as usually managing to turn me off from a film, but even her I found to be effortless and cool in the delivery of the title character. The chemistry between Moore, Neeson and Seyfried is taut, real and memorably erotic.
Unfortunately overall, I wouldn't clamber to watch it again but I did find it enjoyable and stimulating for the duration.
Recommended. 6/10
To Catch a Thief (1955)
Hitchcock's Most Stylish Film
Definitely one of Hitchock's most stylish films, To Catch a Thief puts Kelly and Grant in centre-stage with spotlights focusing on them and the gorgeous scenery that envelopes the sizzling chemistry between the protagonists. The film tells the story of a retired yet still currently notorious cat burglar played by Carey Grant who attempts to juggle the pursuit of him by a young and gorgeous socialite - suspected next victim of a new burglar terrorising the rich and the wealthy. It is a romantic thriller before anything and often serves up a European style of noir cinema rarely referenced by Hitchcock. He seems to have been more relaxed in the production of Thief and thats quite enjoyable to witness, as the film is far less serious and self-involved than his works such as Psycho or Topaz.
The Bling Ring (2013)
Extremely Well Made
The Bling Ring is relentlessly Copolla to a T. Borrowing from previous attempts by Sofia of portraying that desperation of contemporary adolescence and post-pubescent fear and confusion, but changing the backdrop from dreary to dolcé, The Bling Ring shimmers in style. Coppola does what she does best by blending rising stars with a genuinely interesting story and a trendy soundtrack. The film unfortunately doesn't focus as much as I would've preferred on the law side of things like the legal proceedings that ensued following the Hollywood Hills burglaries and instead focuses on the frolics of the five teenagers and their love of Prada and Paris Hilton. The film will definitely appeal most to fashion-conscious teenagers, those who love and can commit to Coppola's style and those interested in the actual case. The direction and soundtrack are almost flawless.
Chatroom (2010)
Terrible
Chatroom's moderately interesting premise and style is disabled incoherently from the get-go by wet performances, a desperate attempt to appeal to angsty teenagers and a genuinely appalling approach to certain social issues. Chatroom tries its best to glamorise cyber-bullying and manipulation. Aaron Taylor-Johnson's sociopathic geek is an over-troped Hollywood act that has really run its course and Johnson brings little talent to the role. What's even more disappointing is that this is part of the filmography of Hideo Nakata, the obviously hit-and-miss Creator of decent horror films like 2002's Dark Water and 1998's Ring.
Almost Famous (2000)
Warm and Funny, Incredible Soundtrack
What really inspired me to watch Almost Famous was the soundtrack at first, which includes the likes of the Jimi Hendrix Experience, David Bowie, The Who and Led Zeppelin. After watching the film, I looked over it as a really solid and strangely comforting film. Every time you watch Almost Famous, its like returning to your family at Christmas, comforting yet quixotic and constantly entertaining, especially if you're a fan of rock music and/or grew up in the era. The film features good performances and the emotional integrity of the characters is so raw that the film is almost autobiographical of our favourite celebrities and the people we had posters of on our walls as children, immortal and total. "It's all happening..."
C.R.A.Z.Y. (2005)
Stunning.
An epic drama of the story of a young man questioning his sexuality, growing up through the sixties and seventies in Quebec, born into a strictly catholic family of five brothers, each crazier than the last. C.R.A.Z.Y is a really affective film as it was one of the only films I've ever seen to make me really think about my own crazy existence and what life really means. Life is too love and to celebrate our indifferences. The outfits and nostalgic soundtrack are all exceedingly impressive, as are the performances and sequences set to music. Sometimes C.R.A.Z.Y is tongue-in-cheek, sometimes its heartbreaking and sometimes its surrealistic, however what can't be denied is this relatively unknown and genre-less epic is quite fantastic.
Ssa-i-bo-geu-ji-man-gwen-chan-a (2006)
Strange, Romantic, Artsy
Park Chan-Wook's incredibly strange romantic art-house film narrates the romance and carnage that follows when a woman who fantasises that she is a cyborg meets a paranoid man in a mental institution who believes that he is steadily transforming into a single dot. Seriously. Whilst the film is kooky and kind of sweet in an eighty foot teddy bear kind of way, the film renders its audience completely oblivious to its message of humanity over conformity and the humanistic fear of helplessness, all because its far too colourful and its ridiculous plot completely overshadows its subplot; unfortunately what's implied is ignored for what is seen.
Godzilla (2014)
Exciting to the End
Really quite exciting, Godzilla is interestingly emotional and political in its approach to the generic monster movie genre. The once fresh-faced Aaron Taylor-Johnson is back and hardened to the ways of the world as he attempts to avoid the clutches of a terrifying beast that begins to rampage across the city as the creature attempts to breed. Humanity's last hope rests on Godzilla, who seems to do more damage than good, but nevertheless saves the day...more or less. What I didn't like about the film was that they decided to include the increasingly boring plot of a man attempting to reunite with his family through some kind of pandemic, similar to World War Z.
Side Effects (2013)
Really Intense, Fantastic
2013 was undeniably a strong year for cinema and Side Effects is one of the best from that year. It slinks insidiously from event to event, from chapter to chapter and captivates you from start to finish. Side Effects is a sly thriller about a young woman being treated for depression and is given a new medication that leads her to kill her husband whilst sleep-walking. The bold Jude Law, frigid Catherine Zeta-Jones and vulnerable Rooney Mara all compliment each other in their untrustful and mysterious roles, whilst Vinessa Shaw and Channing Tatum offer warmth against the cold and clinical backdrop of therapy in the city as the other halves. The twists towards the end are all unexpected and peak your interest just as the film ends, making you think of the story for days and during your second viewing you'll enjoy the film even more. Wonderfully casted and extremely well-paced, Side Effects is a very good film.
The Virgin Suicides (1999)
Polished Adaptation of Euginides
An extremely hard novel to adapt to the big screen, from one of my favourite novelists Jeffrey Euginides comes the directorial debut of Sofia Coppola who would go on to direct the award-laden Lost In Translation. Kirsten Dunst plays the role very well and the performances given from the parents of the five elusive Lisbon sisters, Kathleen Turner and James Woods were very impressive. The film cleverly mirrors the pungent adolescent anxieties and dark trails of obsession that are laced throughout the novel, however the film is less visceral and more Hollywood than would've been preferred, Sofia polished most of the feeling out of the film, however the story and style forgive all the film's flaws.
Martyrs (2008)
Not as Shocking As Everyone Makes Out
Unafraid of its own premise, Martyrs understands that if you want to make a polarising film you do it with full acknowledgement of your own disease. Blends elements of child abuse, conspiracy, religion and kidnapping, Martyrs is incredibly dark and provides full-frontal exposure to a fictional world that doesn't release you from its clutches until its over. Unfortunately, it's not good enough to really want to watch again, however it is far from artless and there is entertainment in the performances, vague whiff of lesbian melodrama and unflinching ending. Definitely worth a watch and honestly, it really isn't as terrifying as everyone makes out.
A Single Man (2009)
Extremely Aware of Style
A Single Man feels more like the prelude to a fashion show than an actual motion-picture, and whilst the film and plot are impeccably solid, it suffers from a certain aura of "style over substance" and not enough depth as it could've had. The debut film of fashion ingénue Tom Ford, A Single Man is both heart-achingly melancholy and richly probing into the life of a lonely homosexual widower in the sixties. Colin Firth is brilliant and brave in the role, whilst Julianne Moore and Nicholas Hoult offer beneficial support, however both are slightly over-shadowed by the pace and performance of Firth. Seemingly inspired by the work of Lars Von Trier, A Single Man is really quite beautiful but not one of the best films I have ever seen.
Freaks (1932)
We Accept Her! We Accept Her!
Vaguely tongue-in-cheek, Freaks is good but slightly tiresome in its over-the-top satirical view of the horror genre. In contemporary viewings, Freaks could be a wonderful metaphor for the dehumanisation that renders a victim of discrimination and prejudice socially and morally unconscious. It's smart and was released way before its time and has surprisingly aged extremely well, however it isn't as entertaining as some would have you believe. Nevertheless its increasingly iconic, has aged like a fine wine and deserves its place amongst the ranks of horror classics. "We accept her one of us we accept her one of us..."
Before I Go to Sleep (2014)
Side Effects Meets 50 First Dates
Steven Soderbergh's Side Effects meets Peter Segal's 50 First Dates, this colourless and tightly strung thriller is a paranoid little piece about an amnesiac woman who begins to learn things about her life and her husband that startle and disturb her. What stood out the most for me was the intriguing plot with all its twists and turns and also an unsettling performance from Colin Firth who finally breaks away from the archetype of the Mr. Darcy's he's so often cast as. The film spins and twists like a bleak carousel with not as much fun to be offered from other thrillers in the same vein, but the film is moderately enjoyable nonetheless. The repetition of the film is one of its strongest qualities and yet biggest drawbacks, as it often feels monotonous against its bleak backdrop and dark story.
Psycho (1960)
Wow
What more can be said about Psycho other than 'WOW'. Psycho isn't just an iconic horror film, it's an icon completely as an item and a piece of art. The film that cemented Hitchcock's star in the hall of cine-fame, Psycho narrates the infamous story of Norman Bates and his warped motel, inhabited by the elusive silhouette of his over-bearing mother. When a beautiful young runaway flees work with a chunk of her employer's money, of course her first thought is to check into the nearest motel, inevitably leading to one of the most notoriously scary scenes in cinema. Worth a watch in all kinds of weather, the film was nominated for four Academy Awards upon release and features a young Janet Leigh and a handsome Anthony Perkins. Scary, extremely tense and mildly psycho-sexual, Psycho is great.
The Lords of Salem (2012)
Usual Zombie
Atmospheric and compelling, Zombie is in full-frontal flair with Lords and proudly presents a far more distinguished side to his directorial work and general approach to film. Whilst the story is odd and some of the choices in character design such as how he chose to depict the Devil are really quite bizarre and probably only make sense to Zombie himself. Whilst I love Zombie, I've never found his wife to be of much substance in his films especially when it comes to emotional scenes and I find her to fare better in the role of a psychopath (House of 1000 Corpses, The Devil's Rejects...), nevertheless Rob's approach to witchcraft and American history are all very interesting and the film is unique enough that it might appeal to those who previously dismissed his filmography. Veteran actors Judy Geeson, Patricia Arquette and Dee Wallace Stone star as three humble "sisters" and are one of the weirdest yet greatest additions to the picture.
V/H/S (2012)
Really Scary & Cool
A really really cool horror film. I'm a huge advocate of the found-footage genre and I think V/H/S is a worthwhile entry into the canon. The film's narrative frame is really quite rushed and unspecific, not drawing any attention to the main characters of the actual film and just silently killing each one off as the film narrows towards its conclusion. The short films that compromise the majority of the film are however extremely fun and its interesting how each one varies from the last. V/H/S cleverly starts and finishes with the strongest of the collection and leaves a mark on the mind, the first short film being particularly unsettling.
Insidious (2010)
Worthy Start to An Influential Franchise
A worthy start to an influential franchise, the supreme mix of Wan and Whannell proves to blend enough ghouls and grime to result in a fun film. Byrne fits the "contemporary stone-faced worrier" of a mother horror archetype that seems so popular nowadays and she does rather well as the tired-eyed parent of a young boy in a coma, who seems to be attracting the tormented and often disfigured demons who inhabit a distant realm. Patrick Wilson balances her out well with the warmth of the father-figure and also gives a good performance as a genuinely concerned and worried parent. The use of colour borrows heavily from the work of Argento and thats a good thing, smearing our worst nightmares in candy-coloured paint, contrasting to the bleakness of the real world. The main demon antagonist is a little kooky though and depending on its audience will definitely inspire a few unintentional laughs.
Rosemary's Baby (1968)
Ruth Gordon is Mesmerizing
In the prime of a sexual revolution and an institutionalised fear of a crumbling of morals, Rosemary's Baby must have been terrifying, exciting and extremely relevant when it came out. It's one of the most bizarre horror films I've ever seen as it meanders between a top-notch soap opera, an art-house piece and an eastern horror film from the silent era. Mia Farrow is sweet and vulnerable as Rosemary and her descent from an up-and-comer into a paranoid young lady, terrified her neighbours are casting spells on her and her unborn baby. Whilst its extremely frightening, the performances and unorthodox direction is what carries the film. Ruth Gordon is mesmerizing.
The Rocky Horror Picture Show (1975)
Sexy and Tasteless
The Rocky Horror Picture Show is about as cult as it gets, without actually getting illegal. Taking into account the year it was released and the mostly unknown cast that were picked, the success of the film was phenomenal. Richard O'Brien writing the songs managed to do what seems impossible to most - writing a musical where all the songs are catchy and don't come across as "fillers". The low-budget works perfectly with the camp tone and is great for adapting the stage show into a memorable "picture show". The film is definitely a spoof of B-movies, hammer-style horror films and a general tribute to "giving yourself over to absolute pleasure". Tim Curry as Frank N' Furter is quite something and its great to see foetus Susan Sarandon.
Bug (2006)
Incredibly Paceful, Claustrophobic
The film's ambition seems to pay off towards the end, however the conclusion resolutes as a little rushed. Ashley Judd stars in Bug almost like Charlize Theron appeared in Monster, transformed by the harshness of her story, playing an extremely lonely woman who lets a chance at love destroy any state of a sound mind after she meets a disturbed AWOL officer played by Michael Shannon, who also appeared in the stage play the film is adapted from. It's a film about paranoia and "delusional parisitosis" but underneath it is also about heartbreak, motherhood, obsession and abuse and is really quite affective. The lengthy dialogue and single location can end up a bit jarring however...