Film-Watching and Concentration

Over my life of watching films, I've noticed how hard it can be at times to concentrate for prolonged

periods on any given movie.  The task of watching with undivided attention for an hour and a half to two to even three hours can be a daunting job.  As a film scholar and writer this can be troubling, knowing that I am expected to be good at watching films, always capturing every detail and passing story element and registering them in my consciousness and memory for later analysis.  I don't always manage to live up to this requirement and I assume I'm not the only one.

Film-watching that takes the most effort is when you have the type of film that depends on extensive use of intricate dialogue.  Whole scenes may pass by in which the viewer could potentially miss huge plot elements or story clues because of spoken words that fly by quite quickly.  Improvements in sound in films over the years have improved this.  Classic movies of the early to mid-twentieth century can be especially hard to comprehend because of technically inferior sound recording in comparison to today's cinema.  This, obviously wasn't a problem with silent movies in the first few decades of film's emergence when the image was the sole recipient of one's attention.  This, perhaps, is why many early critics lamented the death of silent cinema as an ending of a means of expression that typified the essence of the visual medium.  But, others have argued that with the coming of sound, film became more true to life and a solid reflection of everyday existence.

Film watching requires effort and concentration.  Fortunately, there are ways to improve one's level of concentration what will in turn improve one's film comprehension ability.  Meditation and mindfulness are practices that have been known to improve one's concentration and awareness of the present moment.  They involve the practicing of moment to moment awareness in a way that brings clarity and contentment.  Meditation is a discipline that must be continued over a period of time to bring benefit to an individual.  Meditation and mindfulness can be a tool in the aspiring film critic's arsenal to improve his or her level of concentration and comprehension of any given film-watching experience.

If one has trouble with dialogue-comprehension, one option for a viewer if watching at home is to activate the subtitle feature.  Subtitles, however can take concentration away from the visual element of the film to focus solely on the dialogue.  Subtitles are always a requirement for foreign films in which the spoken language is unknown to the viewer.

Another thing that helps is repeated viewings.  Some films only require one viewing to fully comprehend.  These are probably quite shallow, simple films.  The films that are worth critical analysis are often films that require many viewings.  Such films offer new insights and revelations with each subsequent viewing and can be very rewarding to analyze. 

In the end, the main way to become a skilled, efficient film viewer is to watch more films.  Watching films, like making them or writing about them, is an art itself and has to be developed over time if one wants to gain insight and rewards from it.

Star Wars: The Force Awakens (2015, dir. J.J. Abrams)

After the disappointment of Episodes I-III, I was anxious to see if Episode VII would dispel the slightly bitter taste left after those early twenty first century installments.  After reading some early reviews (minus the spoilers) that lauded this film as a return to the spirit of the originals, I was looking forward to seeing this J.J. Abrams-directed space-opera.  It definitely lives up to the hype: it is spell-binding at times, with action sequences that rival anything in the series and enough self-reflexive, Star Wars historical lore to please any super-geek-fan of Star Wars and Sci-Fi in general.

Spotlight (2015, dir. Thomas McCarthy)

In one of the most intriguing and revealing scenes in Thomas McCarthy's brilliant new film "Spotlight", journalist Sasha Pfeiffer (Rachel McAdams) visits a former Catholic priest who has allegedly molested boys in his past.  When she questions him about the accusations, he doesn't deny it.  Interestingly and horrifyingly, he even justifies his actions and says that his sexual violations were not harmful, that they were even A-OK.  This exchange in the film highlights the very nature of the disease that "Spotlight" deals with:  the unassuming, nonchalant nature that underlies Catholicism's cover-up, denial and dealings with the terrible things that have gone on for decades, perhaps centuries and the lack of insight that the priests themselves have about the nature of their own misdeeds.

"Spotlight" is a riveting, audacious look at the 2001-2002, Boston Globe expose on the perpetration of child molestation by members of the Catholic Clergy in Boston, Massachusetts.  In exposing the facts, the crack team of journalists, a facet of the Globe known as "Spotlight", pushed the ignorance and denial of the higher-ups in the Catholic Church to the forefront of the nation's view and, in so doing, made similar corruption reveal itself in the entire world.

The "Spotlight" team is lead by Walter "Robby" Robinson (Michael Keaton).  His journalist team consists of Michael Rezendes (Mark Ruffalo), Pfeiffer, and Matt Carroll (Brian d'Arcy James).  Higher-ups at the Globe are played by Liev Schreiber and John Slattery.  There are many more members of the stellar cast and they all do a fantastic job.

This is one of the best films on journalism there is.  It surpasses even "All the President's Men".  It is thrilling to watch from beginning to end and always holds your attention.  The excitement is maintained by the impeccable screenplay.  There is never a false moment and the trajectory of the entire investigation is always clear and concise.  Through the editing and pacing, you get a real sense of the tiring, compulsive search for information and leads that the journalists go through.  The threat of deadlines loom, and the race against time is palpable.

This is the best film I've seen yet this year.  It is an unforgettable, lively drama that will stay with you.

On the Waterfront (1954, dir. Elia Kazan)

What a powerful, gritty, and visceral film this is.  In response to his critics who denounced him for naming names before the HUAC in 1952, Elia Kazan answered with "On the Waterfront".  It is a reaction to the corruption found within unions, particularly dockworkers' unions and champions its protagonist, Terry Malloy (Marlon Brando), a former prize-fighter who stands up against all the treachery and testifies against the wayward union boss, Johnny Friendly (Lee J. Cobb). 

Murder for being a rat is the name of the game.  The film opens with the murder of young Joey Boyle by the mob.  Terry feels guilty because he lured the youngster into the trap, unaware that it would lead to his death.  Boyle's sister is Edie (Eva Marie Saint) who is drawn to Terry despite the complications that arise from his past associations.

The acting is incredible.  Brando is at the top of his game as the conflicted Malloy, whose throttled compassion and anger is always on the verge of exploding.  The whole cast is top notch:  Karl Malden as the priest, Father Berry; Rod Steiger as Charley, Terry's brother and henchman to Johnny; and Marie Saint are all impeccable.   So are the many other supporting players in this lifelike film.

One of the most famous and powerful scenes takes place between the brothers, Terry and Charley.  Terry laments over the past and the fact that he "could have been a contender" as a boxer.  It is a heart-breaking exchange and highlights the tenuous bond between all siblings and the loyalties at stake in the world of organized crime.

This is a film that contains real soul and character.  In its true-to-life depiction of life on the streets and docks of 1950's New Jersey, it paints a picture of a specific time and place that is both compelling and beautiful to behold.

Bridge of Spies (2015, dir. Steven Spielberg)

Steven Spielberg's latest won't change your life, outlook, or play with your emotions the same way that some of his previous work arguably has.  It is a decent film and has its admirable qualities but it certainly is not in the category of the blockbuster or emotional powerhouse that you might expect from the maker of "Schindler's List", "E.T." and "Jaws".  What Spielberg does do is create a fully realized, compelling vision of the Cold War-era, late 1950's where the threat of nuclear annihilation was building to a high in the United States and espionage both at home and abroad was becoming a familiar household term.

Tom Hanks stars as Jim Donovan, an American lawyer who is enlisted by the CIA to negotiate a swap between an alleged Soviet spy caught in the U.S. and an American soldier captured in the Soviet Union.

The film consists of a lot of wheeling and dealing over the exchange of prisoners, all taking place in Germany at the time of the raising of the Berlin Wall.  The period detail is mesmerizing and accurate.  The cold, barren cinematography and atmosphere in this region makes tangible the political situation in Germany at the time and makes the cold that Donovan develops when his overcoat is stolen believable.

Spielberg is not content to paint a one-dimensional, evil portrait of the Soviet and German characters.  Instead, he creates people, Rudolph Abel (Mark Rylance) for example, as complex, admirable individuals who are caught up in the machinations of Cold War politics but strive to maintain a sense of dignity and valour. 

I was impressed with all the performances in "Bridge of Spies", particularly the two leads, Rylance and Hanks.  Their characters are sympathetic and multi-faceted and the actors embody them boldly and with finesse. 

This is a worthy addition to the Spielberg canon and is a riveting portrait of a chaotic time in our culture.

Sicario (2015, dir. Denis Villeneuve)

I missed "Sicario" in its initial run in my local theater.  Luckily, I found a screening in a city half and hour away in a little 40-seat theatre whose walls were so thin you could hear the movie in the adjacent room playing quite clearly.  That didn't deter from my enjoyment of this dark thriller from director Denis Villeneuve.

Emily Blunt plays Kate Macer, an FBI agent who is enlisted by a government task force to aid in the escalating war against drugs in the vicinity of the border between the U.S. and Mexico.  I've enjoyed Blunt's performances in previous films, specifically the Tom Cruise vehicle "Edge of Tomorrow" and she embraces this role as Macer with a mixture of vulnerability and vitriol in a way that makes her character sympathetic and charismatic.  Her moral compass is put to a test in this film and she does her best to maintain a sense of courageous righteousness in the face of unspeakable acts of law-bending and violence.

Benicio Del Toro has rarely been stronger.  He plays a character whose complex, conflicting poles of morality and treachery are fueled by the tragic fate of his family in the past.  Josh Brolin is also good as an unwavering CIA operative.

The film does a great job of painting a visceral portrait of the violent climate in Mexico and around its border with the U.S.  The drug war is so rampant you get the frustrated sense that it can never be brought under control.  There is a convoluted, twisted nature to the film's portrayal of the intricacies of power structures in the drug cartel that can be disorienting but compelling. 

This is one of the best films I've seen in 2015.  It will challenge you and hold your interest.

A Girl Walks Home Alone At Night (2014, dir. Ana Lily Amirpour)

This is one of the weirdest movies I've seen this year.  I also have the impression that its one of the least substantial.

The "girl" in the title refers to a vampire.  She spends her lonely nights punishing the corrupt members of Bad City where she resides killing them my draining them of blood, as most vampires would.  What sets her apart from most vampires in most other movies is her fascination with music from her vinyl record collection as well as her fixation on only seeming to want to wipe out the bad people of her society.  In other words, she's picky.

Her loneliness is possibly remedied by the arrival of a young man into her life who could be a potential love interest.  They share a love of music and a certain existential isolation.

I liked the stark, black and white cinematography, the acting and the soundtrack.  But the story is lacking in substance and interest.  Not much groundbreaking territory is ventured into.   This is just another one of the many vampire films to come along in recent years that don't breathe much life into the genre.

Season 1 of "Bloodline"

"Bloodline" is a Netflix original series about a family with dark secrets.  The oldest son is the
prototypical black sheep who returns to the Floria Keys home of his family to peel the scabs away from old wounds and throw a little salt on top.

There is a series of flashbacks throughout the first season that allude to this family's troubled and dark past.  We get the impression that these events have played a serious role on the present and will also impact the future.  The oldest son, Danny Rayburn (Ben Mendelsohn) is a complex character as are all of the Rayburn members.  What sets Danny apart, however, is his bad behaviour and the apparent truthfulness to his actions.  He is willing to tear apart the family in the name of revealing the past and the contents his own tortured soul.

There are surprises, twists and turns in the plot, side- and back-stories and atmospheric cinematography that add dimension and texture to the series.  There is noir-ish element to the whole undertaking through the use of psychological depth-dwelling, a homme-fatale, and use of chiaroscuro imagery, rainfall, and searing summer heat-waves.

This is one of the most intriguing series on Netflix and the entire cast work together to produce a compelling drama about sibling rivalry, family dysfunction, and the psychological and emotional weight of secrets and the past.

High Noon (1952, dir. Fred Zinneman)

How well does Fred Zinneman's "High Noon" stand up after over 60 years since its original release?  Can it still be entertaining in modern day viewing situations where the Western is apparently "dead" and when it is present, it is amped-up to satisfy the short attention spans of present-age viewers?  Sadly, the answer to that would be "no" to most viewers in today's viewing climate.  But to this

Gary Cooper stars as Will Kane, a marshal of a small Western town.  He's just been married to a beautiful Quaker girl (Grace Kelly) and is hanging up his badge.  But just as he's about to ride into the sunset with his new bride, news comes that a criminal is coming to town on the noon train and he intends to cause nothing but trouble and mischief for the town's poor inhabitants.  Its all pretty predictable what happens next.

The film is quite unique in that the screen time is quite parallel to the story time.  An hour and a half of a movie takes place over an hour and half in the story of the film, in other words.  Not a lot happens over that hour and half and you often wonder if there is enough material here to stretch it into an hour and a half.

As far as Westerns go there are definitely far better ones, especially from this era.  "Red River" is a far more invigorating and enjoyable film.  Still, this film holds your attention and the performances are strong.
viewer and others like me who are more patient and respectful of the past, it is still entertaining, sometimes compelling, even though predictable.

Robert Bresson's Brilliant Book, "Notes on Cinematography"

French film director Robert Bresson (1901 - 1999), who directed such masterpieces as "Pickpocket"
and "Diary of a Country Priest" brought his brilliant insights on the nature of cinematography to readers with his book "Notes on Cinematography".  The book is written in a style reminiscent of Marcus Aurelius's "Meditations" in that it is a series of short ideas or meditations compiled together and separated by bullet points in a manner that often build on one another.  The ideas are often grouped together thematically but sometimes they are just random thoughts.  It should be stressed that his meaning of the word "Cinematography" is not the typical one of the act of filming with a camera but instead it is the creative film-making which "thoroughly exploits the nature of film as such".

His ideas are unique and compelling.  He, for instance, rejects the notion of the traditional actor.  In the actor's place he proposes what he calls "models".  These non-professional "models" through their inexperience and lack of training are able to reveal something more "truthful" and real through their performance.  A certain interior essence is revealed and this is often achieved through a number of takes that allow the model to unearth his or her true reactions and the cadences of his or her own speech and mannerisms.  Ideas surrounding models is something that Bresson returns to over and over again throughout "Notes" in ways that bring further clarification and understanding to this theme.  His use of models are evident in many of his films including "Pickpocket" and "Diary of a Country Priest".

"Notes on Cinematography" is a classic of film literature and it is a book that any scholar of cinema should read.  It's ideas are original and still relevant today.  It is the basis of many film movements that would follow such as various New-Waves and especially the Dogme movement of the 90's.  It is truly an eye-opening experience to read and absorb its material.

Season 4 of "Homeland"

After a slow start to the fourth season of "Homeland", the show really starts to gain momentum and excitement.  It takes place mostly in Pakistan, where Carrie Matheson (Claire Danes) and company
are investigating and attempting to thwart a terrorist who is wreaking havoc in and around Islamabad.

Matheson's bipolar illness plays a chief role in this season and her struggle with it proves to be a compelling and interesting exploration of mental illness.  She is also dealing with her new status as a mother and her ambivalence towards this role helps to add complexity and nuances to her character.

The action sequences and suspense are extremely well-achieved and keep the viewer riveted.  The performances are convincing and good as well.

This is a thoroughly satisfying addition to the show's story and is sure to satisfy any fan of the series.

Olive Kitteridge (2014, dir. Lisa Cholodenko)

My interest was piqued in this HBO miniseries when I saw the accolades it received at the latest Emmy awards.  I decided to watch it over a period of two separate evenings and I wasn't disappointed.

The four-part series follows the title character through flashbacks and present-day situations and tells the story of how she, her husband, acquaintances, and children, react to, face, and carry on through the various crises that life throws at you.  To say it is tragic at times is an understatement.

Frances McDormand's performance is unbelievable in is realization.  Olive Kitteridge is not very likable and is often rude, condescending and cold towards others, but via McDormand's performance, she comes to life in ways that make the viewer respect, admire, and identify with her on varying, complex levels.

What makes this miniseries so refreshing and enjoyable is the way it allows its characters to just inhabit the screen and grow on us through their interactions and rich, idiosyncratic characterizations.  The writers and director throw the characters into different situations, some ordinary, others often suspenseful and weird, and allow the well-developed characters to offer the viewer insights into the nature of life, love, and how we grow and change as human beings.

The transition among different time periods is extraordinarily well-done and never confusing or jarring.  The situations can be tragic but also humorous and inspiring.

The positive thing about extended miniseries that have more running time than traditional films is that they allow the characters to develop in richer, more complex ways.  Miniseries like "Olive Kitteridge" demonstrate the possibilities of the medium and how we as viewers can grow to love and cherish seemingly unlikable, complex characters for their eccentricities, flaws, and resolve for redemption.

The Martian (2015, dir. Ridley Scott)

In Ridley Scott's new extra-terrestrial epic, "The Martian", Matt Damon gets left behind on Mars after being presumed dead by his fellow astronauts.  It is a tail of overcoming adversity, survival, and perseverance. 

I saw a meme on Facebook that questions how much time and money we must spend on bringing Matt Damon back home.  From "Saving Private Ryan" to "Interstellar" and now this space opera, we frequently find him in a crisis in which his retrieval to a safe place back in the Old United States is of utmost importance.  That's not to say that "The Martian" is not entertaining and riveting at times.  But in its placement on Mars, Ridley Scott's film is really only retelling and relocating stories of survival from countless other Hollywood films.  I was most prominently reminded of "Castaway" but its been done many times in film and literature.

I was also troubled by the film's expectations on the viewer in making them feel so much investment in one man's life.  With all the genocide, murder, and brutality occurring around the world each minute, how are we as viewers supposed to feel emotional consideration for this one lone man on a planet so far away?  This, however, would be a question that could be posed on hundreds of movies released every year but with this one in particular the query seemed more relevant.

I really liked the verisimilitude in the transition between Martian and Earthian scenes throughout the film.  The special effects are also well-done and believable.  The performances are admirable and convincing.  Damon proves once again that he can carry the weight of a film's narrative on his shoulders.

Here is a film that opens your mind and shows you new worlds and possibilities.  It is imaginative and the science is thoroughly accurate and always seems plausible.  Furthermore, like most suspenseful films should, just when you think everything is going smoothly something is bound to go awry and keep you interested.

Black Mass (2015, dir. Scott Cooper)

Scott Cooper's new film "Black Mass" tells the story of James "Whitey" Bulger, a criminal
mastermind who holds a treacherous grip over South Boston throughout the 70's and 80's.  He and his associates are heavily involved in racketeering, drug-dealing, and murder.  There are admirable qualities of the film:  Johnny Depp's performance as Bulger is wonderful.  However, the overall feeling coming away from this movie is one of not being fully satisfied.  I felt had not witnessed anything that breathes new, original life into the genre of the crime film.  It is a fairly forgettable movie.

The Tale of Princess Kaguya (2013, dir. Isao Takahata)

The attention to detail of the animation and the beautiful rendering of the natural world and its various phenomena propel this unique Japanese animated feature into the realm of greatness.

Danny Collins (2015, dir. Dan Fogelman)

In this cliched, predictable story from director Dan Fogelman, Al Pacino stars as the title character, a pathetic stereotype of an aging folk-rocker.  He hasn't written a song in three decades, his personal life is in a shambles, and his lifestyle decisions are questionable.  Still, Collins draws huge crowds in his concerts where he belts out his "Sweet Caroline" clone compositions.  His life takes a more meaningful turn when he comes across a 40 year old letter from John Lennon which he hadn't received until now.  The letter gives him career advice which, had it been taken, would have meant a much more satisfying and wholesome life thereafter.  He decides that its never too late and maybe he can start now.

Al Pacino is miscast in the title role, first of all.  Although he is convincing in his off-stage antics, I never believed him as a performer.  The viewer witnesses his performances briefly, but when he or she does, Pacino's vocals are so dismal that you wonder how he could be the superstar that he is portrayed as in this film.

The film is also billed as a comedy-drama, but the comedic elements of the film always fall flat.  There are various attempts to interject humor throughout the story but the screenplay is just not strong enough to elicit any laughter.  Plus there are certain actions and lines that are so off-the-wall, ridiculous and cliched that you just have to cringe.

This is one of the worst films I've seen this year.

Pale Rider (1985, dir. Clint Eastwood)

In Clint Eastwood's powerful Western "Pale Rider" a small prospecting community is terrorized by members of a nearby mining company who want to take over their land.  In rides Clint Eastwood as a nameless Preacher, answering a little girl's prayers that a savior will come to protect them.

As far as the genre of Western goes, "Pale Rider" is top-notch.  It offers all of the iconography associated with the genre and adds its own special spices to the stew. What thrusts it into the realm of greatness is its surety of direction and Eastwood's obvious passion for the material along with his expertise in the genre itself. 

The action scenes and shootouts are typical of Eastwood's other Westerns:  they will elevate your pulse and stir your soul.  For an mid-eighties film, the violence is unusually understated and tasteful.

By taking on the role of a preacher, Eastwood embodies a paradoxical characterization in that he is both a fierce, take-no-prisoners, gunman, unafraid of resorting to violence and a pious, gentle soul who provides solace for the spiritual longings of the communities he enters.  It is a truly interesting character and effectively builds and riffs on the roles Eastwood had already played and the ones he would take on in the future.

"Pale Rider" is cinematic gold:  a compelling, exciting adventure that will surprise and entertain you.

The Music Room (1958, dir. Satyajit Ray)

I was in total awe of this film, during and after.  It won me over through its luminous beauty and mesmerizing story.  It does have music and dancing throughout but it is not a Bollywood film despite it being a film from India.  Unlike Bollywood where music and dance seems to occur with hardly any coherence, motivation or verisimilitude, "The Music Room" integrates the song and dance into the story so that it is part of its intricate fabric. 

It is a film about aging, longing for the past, and the fleeting nature of life.  It is the story of an aging landlord who is faced with dire economic circumstances as his palace struggles to adjust to the changing times.  Despite his waning resources, the landlord decides to host one last concert in his home.  The music room is where the performances are staged.  Ray's film uses real Indian musicians and dancers and his capturing of their performances are riveting and engaging.

The performances are fantastic.  It is a film that will linger in your consciousness for a long time after viewing.

What We Do In The Shadows (2014, dirs. Jemaine Clement, Taika Waititi)

As far as "mockumentaries" go, this one ranks with "Waiting for Guffman" as one of my favourites.  "What We Do in the Shadows" is a hilarious look into the lives of some New Zealand flatmates who also happen to be vampires.  The laughs come as a result of their attempts at normalcy in the face of modern day problems and annoyances that we all recognize and have to deal with.

You may recognize some of the stars of this film.  Jemaine Clement plays one of the vampires, Vladislav and previously starred in "Flight of the Conchords".  He is hilarious in this film, as are all his flatmates.  There are also a pack of werewolves and other characters that add humour and eccentricity to the film.

In portraying vampires in a contemporary setting, the film brilliantly comments on present-day mores and preoccupations.  It also has fun with vampire lore - the codes and iconography that has been accumulated through years of vampires movies, television shows and literature.  In one funny instance, we learn that the vampires have trouble getting a concept of how they look in their evening dress since they can't see each other in the mirror.  Thus, they must draw pictures of themselves and the results are awkward and hilarious.

Although the film has a tendency to get a little stale towards the end, it is still a great comedic achievement and one of the funniest vampire movies you will ever see.

The Fugitive (1993, dir. Andrew Davis)

Some movies we wish would never end, that we could continue to inhabit the lives of their characters indefinitely.  Andrew Davis' "The Fugitive" was that kind of film for me.  Probably the most taut, finely-crafted film I saw in the 90's and one of my favourite movies of all time, "The Fugitive" grabs you at the beginning and continues to hold your riveted attention for its entire length.

Based on a television series of the same name, the film opens with its main character, Richard Kimble (Harrison Ford) being questioned by authorities for the apparent murder of his wife Helen (Sela Ward).  All signs point to Richard's guilt and we very quickly see the interrogation, trial and imprisonment of Kimble in a series of montages that suggest the dizzying, hasty nature of his trajectory.

Kimble, always maintaining his innocence and that the murder of his wife was conducted by a mysterious "one-armed man", goes to prison and, on a prisoner transfer bus-ride finds the means by which he will become the fugitive of the title.  The bus crash/train wreck sequence is one of the many beautiful, breathtaking and painstakingly-choreographed scenes in the film.  Richard escapes and we are consequently introduced to the bloodhound on Kimble's trail, the incomparable, driven and intense U.S. Marshall Samuel Gerard (Tommy Lee Jones).

The performances are so great in this film that they thrust it from a good film into the realm of masterpiece.  Jones won the Oscar for Best Supporting Actor and the film itself was nominated for Best Picture.  It takes place in Chicago and the city itself is another character in the film:  you get a real sense of the soul of the city as the cat and mouse game evolves on its streets over the course of the film.

I will always remember "The Fugitive" as a formative film in my film-watching history, the film that started me on the road to becoming a cinephile and lover of the shear possibility of cinema.  It is films like this that have the ability to take you to another emotional, intellectual and spiritual place.

Inside Out (2015, dir. Pete Docter)

Pete Docter's "Inside Out", the lastest release from Pixar, continues that animation company's tradition of imaginative, engaging entertainment that both children and adults will enjoy.  Where it differs from its predecessors is in its delving into the concepts of psychology, emotion, and memory to a degree no other film, both animated and live action, has done before.

According to the film, as soon as we are born we are ingrained with a host of characters in our brain that embody the emotions Joy, Fear, Sadness, Disgust, and Anger.  We learn in the film that everyone possesses these characters in slight variations in his or her mind, including animals. They are at constant battle with one another over what kind of memories are created and how the outside world is processed internally. 

With Riley, the central female character of "Inside Out", Joy is in control throughout the majority of her first eleven years on earth.  It is only when she and her family must move from Minnesota to San Francisco that things start to go awry and the other emotions start to play a more prominent role.  Suddenly Riley finds herself in strange, unwelcoming territory: she leaves behind her beloved home, friends and hockey team.

This film does a beautiful job of portraying in a concrete, imaginative way, the workings of one's brain in how it stores memories, creates new ones, and recalls them.  The film paints a portrait of a huge computer system with a control panel that each emotion can control, sometimes cooperatively, sometimes in disagreement and tension.  Balls of memory are constantly rolling, each coloured with the hue of its respective emotion and each being sent to its destination in the vast psyche of its host human being. 

Aside from the concepts of psychology, memory and emotion, the plot in this film is fairly conventional and certainly panders to the short attention span of the average young viewer.  But it is in the aforementioned concepts that the true joy and originality of "Inside Out" is found and where the adult viewer will get the most satisfaction.

This is another original film from Pixar and will thrill audiences of all ages.

Blackhat (2015, dir. Michael Mann)

I love Michael Mann films.  Movies like "Heat" and "The Insider" are impeccably-directed, exciting cinema.  I missed "Blackhat" in theatres but decided to rent it last weekend.  Let me say this:  if you are not a fan of his film's you will probably not be won over by Mann's latest cyber-crime thriller.  But devotees of his cinematic canon will not be disappointed.

There are action scenes in "Blackhat" which rival "Heat" for their directorial complexity and intensity.  Some viewers may at times be confused by the verbose techno-jargon.  But, overall, the cohesiveness and complexity of this film are never opposed and Mann achieves an operatic allusion, an early 21st century paean to transnational cyber crime.

Chris Hemsworth is believable and compelling as an ex-con who is released from prison to aid U.S. and Chinese authorities in tracking down a cyber criminal.  The acting is great in this film and the multi-ethnic ensemble does a terrific job of transforming a nearly unintelligible crime thriller into a lyrical movie with the Mannerisms typical of the auteur.

Wild (2014, dir. Jean-Marc Vallee)

I was reminded of a couple other films while watching Jean-Marc Vallee's "Wild".  One was Sean Penn's 2007 film "Into the Wild".  Another was Agnes Varda's 1985 offering "Vagabond".  Unlike the latter film however, Cheryl, the central protagonist of "Wild" played by Reese Witherspoon is "not a hobo".  She makes this clear to a journalist who stops her along her voyage across the Pacific Coast Trail who has the intention of interviewing vagabonds for an expose.

Watching "Wild", like those other two films I mentioned, is a visceral, engaging experience.  It neatly delves into Cheryl's past with a series of flashbacks that are interspersed with her cross country journey.  In fact, the structure of the film is interesting and highly original.  There is cross-cutting to a variety of different moments in Cheryl's life:  her childhood, her adolescence, her recent past and the present.  It all has a cumulative effect, orientating the viewer to a place of understanding of how Cheryl got to where she is today.

The performances of this film are mesmerizing.  Reese Witherspoon is phenomenal.  This is probably her best performance.  She is able to give the viewer a clear understanding of just how difficult her physical, emotional and spiritual journey is and we feel the literal and figurative weight she must carry on her shoulders. Also strong is Laura Dern as Cheryl's mother whose descent into illness and death is painstakingly portrayed through the flashback vignettes that allude to the fleeting, ever-changing moments of memory of Cheryl as she hikes.

There are moments of sheer suspense and terror on the journey.  Cheryl meets potentially threatening individuals who may or may not have sinister motives.  She must be constantly on guard and defensive.

This is a film that packs an emotional wallop with brave performances.  It is told in a partially non-sequential method that will challenge you as a viewer and leave you riveted to the screen.

Nightingale (2015, dir. Elliot Lester)

This is a miniscule budget, one-character film designed to showcase David Oyelowo's acting chops.  He received accolades for embodying Martin Luther King Jr. in 2014's "Selma".  Here he plays a psychologically-troubled man who's madness rapidly escalates over the course of the one and half hour HBO film. The film takes place entirely in his home which he has shared with his recently deceased mother.  The film alludes to the fact that he played a hand in her death though we never learn the exact circumstances.

Were it not for the energized, impressive performance by Oyelowo, this would be an instantly forgettable character study.  But somehow the lead actor puts forth an incredible, visceral show.  Oyelowo captures the downward spiral of madness in a astute, precise manner and makes the viewer truly sympathize with his plight despite his supposed transgressions.

This is an example of a film that is elevated by the performances contained within it.

John Wick (2014, dir. Chad Stahelski)

"John Wick" is a dark, stylish tale of revenge from director Chad Stahelski.  It stars Keanu Reeves as the title character.  It is one of his most charismatic, fierce performances.

The plot is fairly simplistic though it is engaging.  John Wick has recently lost his wife.  Her final gift to him is a puppy which is delivered to his doorstep.  Some sinister men eye his Mustang at a gas station and would like to own it.  Wick says it's not for sale.  Later, these men break into Wick's house, kill the puppy and steal his car.  This is the setup for the ass-kicking scenes of vengeance that will follow.

Never before has the viewer felt such an aching desire for the revenge that Wick seeks out in this film.  When you kill a puppy, that is crossing a line that few films dare to cross and the only solution to this turn of events is to go for balls-out vengeance on a medieval scale.  John Wick does this and it is hugely satisfying catharsis.

The film is shot in a dark, greyish tone that adds to the sombre atmosphere of the film.  There is a fitting soundtrack with tracks by Marilyn Manson and others which also lend to the overall, visceral quality.  The action sequences are brilliantly choreographed, suspenseful and uniquely staged.

In the end, the viewer is witness to a breathless comeuppance that is transcending and invigorating.  I liked "John Wick" for its audacity and ferocity.

Badlands (1973, dir. Terrence Malick)

Few directorial debuts are as impressive as Terrence Malick's 1973 offering.  It contains many of the thematic and philosophical seeds that would flower in his subsequent works:  the violence inherent in humanity, the mysticism behind natural phenomena, the destructiveness of human relationships, and others - always examined with tact and precision.

The story is from real events of the 1950s:  a twenty-something, rambunctious young man and his teenage girlfriend go on a killing spree that would lead them to infamy and legend.  The pair are played by Martin Sheen and Sissy Spacek.  Sheen's Kit Caruthers is a slightly unbalanced, alienated realization.  His likeness to James Dean is noted at times.  Spacek's Holly is an easily-led, introspective adolescent who provides the conscience and the narration of the film.

Narrated voice-over is a tactic employed by Malick in all his features and it offers a strong grounding position for his stories.  In his debut, Holly's narration is eccentric and, at the same time, lyrical.  It provides a certain philosophical underpinning to the film and helps the viewer dig deeper into the film, offering a closer examination of the characters and their motivations.

The film can also be read as a microcosm.  It takes place in the late 1950s but it is a comment on 1970s as well as present-day celebrity culture.  Kit's adulation and elevation to the level of hero by his captors at the end speaks to the celebrity culture of the times and how we as a society choose to worship false prophets and idols and put them on a pedestal.

This is one of the great films of the 70's and introduced Terrence Malick to the cinematic world as a bold new artist to be reckoned with. 

The Age of Adaline (2015, dir. Lee Toland Krieger)

Blake Lively is charismatic and captivating in the lead role of Adaline in Lee Toland Krieger's "The Age of Adaline".  Adaline was in an accident in her young adult life that caused her to never age.  It is a cool concept. 

The cinema's playfulness with the idea of The Fountain of Youth is not new but this film approaches the matter in an original way that makes the film enjoyable and engaging.  We watch Adaline as she lives from the early 20th century up until the present.  She witnesses her daughter outgrow her before her very eyes.  It is really a bittersweet concept and the director Krieger deals with the subject in a straightforward, unsentimental manner.

This film probably wouldn't work in the hands of a less likable, versatile actress.  Lively does a terrific job of making us care deeply for Adaline.  This is the first time I've seen her in a film and I look forward to seeing her in others in the future.

Ex Machina (2015, dir. Alex Garland)

Alex Garland's "Ex Machina" is a visceral exploration of artificial intelligence.  In the film, a talented young programmer named Caleb (Domhnall Gleeson) wins a chance to spend time investigating a breakthrough invention in the form of a female cyborg named Ava (Alicia Vikander).  She has been created by an eccentric scientist named Nathan (Oscar Isaac) in his impressive home and laboratory somewhere in a distant, isolated locale.  Nathan is Caleb's boss at a search engine website called "BlueBook" that the viewer learns is the most popular search engine in the world.

I was impressed with the performances in this film.  The real revelation is Vikander.  Her Ava possesses a dual nature that offers an ambiguous mixture of human and cyborg qualities.  There is never any doubt as to her cyborg nature but, at the same time, Vikander's performance lends just enough humanity to Ava for the viewer to sometimes second guess him or herself.

There is a goldmine of thematic subtext to the film as well.  There is a neofeminist critique as well as commentaries on morality, good vs. evil, and loneliness.

I was left somewhat unsettled at the end of the film.  It was a little too abrupt and unresolved for my liking.  But the film is still a riveting sci-fi drama with original ideas.

The Thirst for Adventure - George Miller's Mad Max: Fury Road

Few films I've seen recently have been as breath-taking and endlessly action-filled as George Miller's "Mad Max: Fury Road".  It certainly keeps you riveted to the screen for its entire two hours and rarely lets you rest. 

Tom Hardy takes over for Mel Gibson in the title role and this hand-me-down fits perfectly:  Hardy embodies Max with a vigor and animosity that both pays tribute to his predecessor and breathes entirely new life into the full-blooded character.  His performance is brilliant and few modern actors could have done a better job at giving Max the sympathy, and underlying humanity mixed with menace that Hardy embodies.

Another welcome addition to the Mad Max universe is Charlize Theron's Furiosa.  Theron's performance is a bombastic realization that has virtually opened up her career to a new array of possibilities.  Furiosa is an ass-kicking, one-armed wrecking machine who adds a strong female presence to the film.

The majority of the film takes place in the desert where the various vehicles traverse the arid, hot sands in ever-escalating road warfare.  These battle sequences are truly amazing and are the central focus of the film.  They are a wonder of direction and special effects.

One thing I didn't like about this film was the guy with the double-necked electric guitar who stands on the front end of a truck and plays his heart out as all hell breaks loose.  It seemed kind of stupid and I was glad to see him get annihilated.

Overall, this was a fantastic, ecstatic thrill-ride.   It will quench your cinematic thirst for action and adventure.

The Decameron (1971, dir. Pier Paolo Pasolini)

I have to admit, I'm new to Pier Paolo Pasolini.  Up until yesterday, I'd never seen any of his films, but I've heard a lot about his legendary status as a daring cinematic auteur.  I recently purchased the Criterion Collection's Blu-Ray set of his "Trilogy of Life" and "The Decameron" is the first film in that trilogy.  I thought I'd give it a try yesterday and I'm glad I did.  "The Decamaeron" is a bawdy, audacious, and scathing critique of sexual and religious mores of 14th Century Naples.  In critiquing this society that is so far in the past, Pasolini was critiquing his modern day (1970's) society.  He uses Giovanni Boccaccio's stories to inject a new outlook on his present day outlook of how he saw modern day Italy and the world.  Boccaccio's "Il Decameron" was an appropriate vehicle to do just that. 

"The Decameron" is a series of vignettes and episodes.  Each one has an overriding thematic constant which propels the narrative forward.  The thematic concerns are mostly sex and religion but there is the presence of other themes such as death, family, and the mystery and complexities of life itself.

The stories are often humorous and bawdy.  The immersion into 14th century Naples is seamlessly accomplished by Pasolini with expertise and finesse.  The overall picture is strengthened by editing that blends the different vignettes into one another without being awkward or jarring.

This was an exciting initiation to this legendary Italian director and I look forward to seeing more of his films in the future.

The Drop (2014, dir. Michael A. Roskam)

A film came along in late 2014 that passed virtually unnoticed from theatres after its initial release.  It happened to be James Gandolfini’s last film.  Few people saw it and it received little word-of-mouth to increase its viewership.  That’s a shame because Michael A. Roskam’s “The Drop” rises above its crime film contemporaries to a place of respectability by being fresh and slightly eccentric.  It is just surprising enough to propel it into the realm of an underrated, little gem.

It takes place in New York.  Tom Hardy plays Bob a bartender who works in a bar owned by his cousin, Marv (Gandolfini).  Their bar acts as a “Drop” -  a location where money is collected and distributed illegally to a local mob.  On his way home from work one day, Bob discovers a puppy in a garbage can – still alive – but badly beaten.  He and a woman named Nadia (Noomi Rapace) take care of the dog and it becomes the centerpiece of intrigue and suspense the will follow.

I liked the film and its characters.  It has the quality of being lived-in and soulful.  There is an element of realism to the setting and working-class people populating the story.

This is definitely not the greatest film of the year and it will probably be forgotten in a few years.  But that’s not to say that it is not enjoyable and engaging.  It is just a lively little film that isn’t flashy and it doesn’t draw attention to itself.

Reservoir Dogs (1992, dir. Quentin Tarantino)

When one watches Quentin Tarantino's debut "Reservoir Dogs" today, he or she comes to the picture with the knowledge of what came after.  "Reservoir Dogs", from today's perspective, is a brilliant film - quirky, amusing, revolting, and transcendent.  But, being the director's first film, one has to acknowledge that it is merely a preview for things to come.  Tarantino would really hit his stride with his following film, "Pulp Fiction" in 1994 and would go on to direct an array of beautiful, postmodern gems that have never failed to disappoint.

His debut from 1992 packs a visceral punch and at an hour and 35 minutes seems to breeze by.  It would contain many of the elements that would come to characterize "Pulp Fiction" - pulse-pounding, nerve-wracking tension, a playfulness with the exposition of narrative chronology, violence, and a narrative universe that seems to exist in an alternative dimension.  The actors inhabit their characters gracefully and believably to the extent that we are invested in their fates and trajectories.

Tarantino directs with an expressive exploitation of cinematic lore.  You can see his influences in every frame and camera movement.  You get a sense of different genres of cinema all at once - French New Wave, Hong Kong crime films, Spaghetti Westerns, film noir, and American 1970's cinema.  It is the seamless nature with which he blends all these and others that lends to the overall brilliance of this debut feature.

Basically the film tells the tale of a heist gone wrong.  It shows the prelude and planning for the heist and its aftermath but never the actual diamond store heist itself.  This technique by Tarantino is a bold move and adds to the charm of the picture via the thwarting of expectations.

The finale of the film is breathtakingly choreographed and riveting to watch.  When the credits role, you are left with some questions unanswered but that's the only way it should be.  Do the mysteries of life ever really reveal themselves?

As far as debuts go, "Reservoir Dogs" is among the most impressive and shocking.  It is a wonder that QT never went to film school.  No he didn't.  He "went to films" and it shows.

Inherent Vice (2014, dir. Paul Thomas Anderson)

The experience of watching "Inherent Vice" is like the subjective experience of its lead character, Doc Sportello (Joaquin Pheonix):  it is a paranoia-inducing, confusing, tangential, meandering, drug-fueled mind-trip.  It is a neo-noir and will remind viewers of such other films as Robert Altman's "The Long Goodbye" and The Coen Brother's "The Big Lebowski".  Another film that it had echos of for me was John Cassavetes' "The Killing of Chinese Bookie".

You have to concentrate heavily to grasp all its hard-boiled dialogue and intrigue and I cannot confess to have done that on my initial viewing.  But it cast a spell on me with its mystery and idiosyncratic structure, dialogue, and characters.  It has a unique soul to it and a foreboding, murky atmosphere that admittedly will probably not win over a majority of viewers and non-PT Anderson die-hard fans.

The period detail of 1970 California is spot-on and the soundtrack by Jonny Greenwood is compellingly realized.   It is based on a novel by Thomas Pynchon.  I read Pynchon's "Gravity's Rainbow" once.  It was one of the hardest to comprehend novels I have ever read but, somehow, like "Inherent Vice" it is still riveting and jars you emotionally and intellectually.

I don't think will end up being my favourite PT film.  But it is a worthy addition to his unparalleled cinematic canon.

Two Days, One Night (2014, dir. Jean-Pierre & Luc Dardenne)

The Dardenne brothers have created an understated gem.  It is a lyrical, neo-realist look at the life of a modern day French woman, Sandra (Marion Cotillard) who is faced with the prospect of losing her job at a solar panel manufacturing company.  Her fellow employees are given the choice of accepting a thousand euro bonus or keeping Sandra as an employee.  It is a daunting decision to make and the film demands the viewer question his or her own hypothetical decision in a similar situation.

Sandra is given the news on a Friday and has the weekend to visit her workmates and try to convince them to vote for her staying on the job instead of the bonus.  It is a fairly simple storyline but it is in this simplicity that the beauty of this film is discovered.

Jean-Pierre and Luc Dardenne are known for bringing working-class characters to life in their films but typically use lesser-known actors.  Marion Cotillard, however, is a certified star and her performance is a complex, fantastically-realized creation.  Sandra suffers from depression but the illness is never a defining characteristic of her personality:  she is so much more than her affliction as any human being would be.  She is constantly depicted on the verge of going off- kilter in her constant anti-depressant pill-popping, but always somehow manages to maintain her dignity and clarity of intent.

Cotillard was nominated for best actress at the 2015 Oscars and deservedly so.  This is an unflinching, brave performance that is thrillingly realistic.  The scenes with the other employees are stirring and it is a joy to watch the variety of decisions and reactions of these diverse people.
The film doesn't offer any easy resolutions or pay-offs but it is a thoroughly rewarding cinematic experience.

The Wind Rises (2013, dir. Hayao Miyazaki)

Hayao Miyazaki has returned and "The Wind Rises" may be his last film.  That is sad because his films have been consistently effective and stunning in their imagination and artistic detail.
Many of his previous works were aimed at children, although many adults get just as much enjoyment out of them.  The director's latest film however, is probably more exclusively directed at a more mature audience.

Often in Miyazaki's films, he makes use of and has a fascination with flying contraptions that seem to defy gravity and our own expectations.  With "The Wind Rises", flying devices (airplanes in particular) are the movie's main subject.  The films protagonist, Jiro, is an airplane engineer.  The viewer follows Jiro as he grows from a child, already sure of his direction in life, through his education and into early adulthood as he sets out on his intended career.

The film takes place in the years leading up to World War Two.  I believe it is based on true events but obviously a lot of artistic license has been taken.

The imagery and animation are things to behold and the use of colour is majestic.  The detail that goes into many of the scenes are stunning and it is amazing to know that a majority of the film is hand-drawn.

The title of the film comes from a quote by Paul Valery and alludes to the fleeting nature of life.  The film's protagonist is an embodiment of the ideal of seizing life by the horns and chasing after one's dreams. 

This may be one of Miyazaki's greatest achievements and if it is his last, it is a fitting note of closure and a tremendous encapsulation of all his previous output.

The Homesman (2014, dir. Tommy Lee Jones)

Just when you thought the Western was dead, along comes another revival of the genre and who better than Tommy Lee Jones to direct and star in one?  "The Homesman" fits into the neo-Western canon comfortably and is a visceral, engaging offering.

Hillary Swank plays Mary Bee Cuddy, a single, lonely woman living on a farm in Nebraska.  One day she finds herself with the daunting responsibility of transporting three insane women across the frontier to a home in Iowa where they will be taken care of.  Just before she leaves, she meets George Briggs (Tommy Lee Jones) who she rescues from a hanging.  In return for rescuing him, she asks that he accompany her on her voyage.  He reluctantly agrees.

The film brings new realism to the genre not just in the period detail but in the psychological realism.  The viewer gets a real sense of just how these three women can be driven insane by their environments.  The film takes the precarious balance between sanity and insanity as its overriding theme and it is not just the three women who deal with madness, but as we will see, Swank and Jones' characters as well.

A lot of the iconography from the history of the Western is present:  Indians, horses, gunplay, good vs. evil, and civilization vs. wilderness.  "The Homesman" and its director Jones take this iconography and spin it in new and interesting directions that revitalize the genre and breathes new life into its patterns and cinematic codes.

The performances are excellent, the cinematography is beautiful in its desolation, and the film is an overall rewarding experience.

Rashomon (1950, dir. Akira Kurosawa)

Akira Kurosawa established a unique cinematic voice with his many films and is probably the most famous of 20th century Japanese directors.  "Rashomon" is one of his most well-known films and with it, the director laid new foundations in the nature of cinematic narrative.

Based on a novel, the film tells the story of a murdered man.  But, Kurosawa doesn't resort to a straight retelling of one man's killing.  Instead he offers a totally original concept in which the murder is retold from a variety of different perspectives.  The film is in fact, a thematic exploration on the nature of subjectivity and how the past is often distorted in its remembering and retelling.  No one has one true point of view, after all, and objectivity is often questionable.

The murder is retold in a trial through a series of flashbacks by the murdered man's wife, an infamous bandit who may or may not be responsible, and the murdered man himself (interestingly, through a medium).  On top of that, the trial itself is retold through the use of additional flashbacks by witnesses to the trial.  So there is a very interesting dynamic and a complex texture to the nature of the narrative which the filmmaker exploits in the most fascinating way. 

The film at times seems dated and many of the mannerisms of the mid-20th century Japan look and sound weird from modern day viewing perspectives.  There is for example, a tendency by many of the characters to laugh maniacally very frequently.  These maniacal laughs are downright annoying and strange (actor Toshiro Mifune is adept at this mannerism) but it doesn't detract too much from the overall enjoyment of the film.

"Rashomon" is a very influential film and would inspire countless directors and films after its release in 1950.  Its unique narrative structure offers a fascinating glimpse into the possibilities of cinema and is a testament to true originality in film-making.

The Theory of Everything (2014, dir. James Marsh)

In his Academy Award-winning performance, Eddie Redmayne stars as legendary physicist Stephen Hawking.  The reason he won is evident to anyone who watches this film:  Redmayne must undergo a complete physical transformation as his character's body is slowly eroded by the disease of ALS.

The gradual erosion is perfectly captured in a nuanced way that never strays from realism and offers a glimpse into the emotional and physical trajectory that anyone with the disease succumbs to.

The film, though, is an examination of the relationship between Hawking and his wife Jane (Felicity Jones) and the hurdles they must stride to maintain their marriage and family in the face of the devastating illness.  It is a testament to the strength of love, the bond of marriage and the sacrifices couples must make in adversity.

I liked the humanity that the actors brought to there roles.  You get the sense that they are living, breathing people.  In the hands of less-talented actors this film could have failed.  There is a sense of humor that is maintained throughout the film that offers a glimpse into the ways that tragedy can be overcome.

This is a film with terrific performances that lift an otherwise conventional biopic into the realm of greatness.

Foxcatcher (2014, dir. Bennett Miller)

"Foxcatcher" is based on real events but it is still a film that shocks and surprises.  Channing Tatum and Mark Ruffalo star as Mark and David Shultz, brothers who share a passion for and skill in wrestling.  Mark (Tatum) was a gold medal winner in the 1984 Olympics in the sport and he is now looking forward to competing in the 1988 Seoul Olympics.

Along comes millionaire John du Pont (Steve Carell) who expresses interest in coaching the brothers with Team Foxcatcher in his huge facility.

The film and du Pont's actions are often mysterious and baffling.  At one point du Pont introduces Mark to cocaine, a seemingly weird turn of events for an athlete training for the Olympics.  There are other plot turns and character actions that are equally mesmerizing but I won't spoil the ending for viewers unfamiliar with the real-life story.

Carell's performance is wonderful.  He is almost unrecognizable with his protruding prosthetic nose and strange, hesitant mannerisms.  It is a big change for viewers used to his comedic performances.  Tatum and Ruffalo are also strong as brothers who are trying to understand du Pont's actions and utterances.

This is a strange film that leaves a lasting impression.  It is a commentary on manhood and can be read as a microcosm for North American mores and values in the late 80's.

The Lunchbox (2013, dir. Ritesh Batra)

"The Lunchbox" is an elegy to the lost art of writing letters.  In our high-tech world of the email, I-phones, and text messaging, we as a society have forgotten about the age-old pleasure of simply writing hand-written notes to one another.

"The Lunchbox" is an Indian film in a contemporary setting where working individuals can take part in a lunchbox delivery program.  In it, workers will receive their lunches in boxes by a pre-assigned maker.  Saajan's (Irrfan Khan) lunch is prepared by a young woman named Ila (Nimrat Kaur).  Eventually they start leaving notes in the lunch box for one another.  The notes start out with simple things such as how enjoyable the lunch was on a particular day.  Soon the notes become more and more personal and a sort of relationship begins to blossom between the two people.

The film is directed by Ritesh Batra and is often funny and touching.  The characters are likeable and the performers do a good job of bringing them to life.  It offers a glimpse into contemporary India that Westerners don't see every day.  It is, however, somewhat conventional and doesn't offer any ground-breaking revelations and it will bore some viewers who are accustomed to more action-oriented plots.

Nightcrawler (2014, dir. Dan Gilroy)

Dan Gilroy’s “Nightcrawler” captures the world of freelance video-journalism in a dark, creepy way.  It succeeds because of an engaging performance by Jake Gyllenhaal and is often suspenseful and exciting.

The film can also be read as a scathing critique of some aspects of video-journalism (including the paparazzi; shows such as TMZ) and the lengths that such men and women go to capture their subject matter.  They often go beyond the boundaries of moral decency and ethics and use questionable tactics in order to obtain their photos and videos.

But at the same time, we can also see it as an indictment of the viewer.  They are, after all, intrigued by such media and it is their fascination with it that produces the demand for the often lurid, invasive, violent and indecent material.

From the start of the film, Louis Bloom (Gyllenhaal) is seen as slightly corrupt and beyond abiding by the law.  He seems a perfect person for the role of video-journalist that he will eventually find himself in as a result of a series of interconnected events.  His work, he finds, is in demand by a struggling local news television station and soon he is financially well-off.

Later in the film, he finds himself caught up in more and more dangerous situations that will put his life in jeopardy.  But he knows that the public’s and television station’s demand for his material will compel him to keep soldiering on.

Everything about this film is dark and brooding. Most of the scenes take place at night, hence the title of the film.  The performances and the story are enough to win over most viewers.  I was impressed.

Pulp Fiction (1994, dir. Quentin Tarantino)

Few films have had the cultural and cinematic impact of Quentin Tarantino's 1994 second feature, "Pulp Fiction".  It is truly an audacious, provocative, and imaginative masterpiece of 90's cinema.  It will conjure up a plethora of emotional reactions: laughter, repulsion, despair, anxiety, frustration.  The list goes on.

The film's elliptical, fragmented, and out-of-sequence narrative structure is a brilliant device used by Tarantino to add an element of suspense and power.  It demands that the viewer become an active consumer of the film, constantly rearranging in his or her head the multiple vignettes, occurrences, and character relationships.

The characters are unforgettable and expertly drawn.  The screenplay gives the characters interesting and eccentric dialogue in a style that would be influential on the future of cinema.

When the film is over you are left in a state of euphoria and awe.  The sequences of the film are brilliant but the end product has the cumulative effect of an engaging epiphany or stunning realization of having witnessed something truly profound.

Whiplash (2014, dir. Damien Chazelle)

For a popular music course in university, I had to attend and review a performance by a jazz ensemble on campus.  It was a memorable experience and one of the things I discovered was that a live performance is as exciting and enjoyable to watch as it is to listen to.

Director Damien Chazelle has a complete understanding of this characteristic of a jazz performance in his phenomenal new film "Whiplash".  His camera captures each performance throughout the film in a manner that highlights the improvisational nature of jazz itself and emphasizes the excitement and wonderment of witnessing a live performance.

There are musical sequences in which each instrument is given sudden close-ups when it is its turn and the editing of this film is a major achievement in bringing about awareness of the intricacies, cohesion and inter-connectedness of all the parts of an ensemble.

The plot of the film is quite conventional and alludes to the Horatio Alger myth.  It portrays a youngster named Andrew (Miles Teller) who must defeat his own doubts and insecurities and rise from a promising but inexperienced music major at a fictional university to an accomplished, respected musician.  Andrew's chief nemesis/mentor is a frightening, harsh music professor/conductor named Fletcher (J. K. Simmons).  Both of these performances are outstanding and make the film more believable and intense.  Simmons' character is a complex villain.  He makes you cringe and feel uncomfortable at the cruelty he inflicts on many of his students to bring about the performance he is after.  At the same time he is at times sympathetic in ways that add depth and emotional investment.

This is one of the great films of 2014.  Great acting, cinematography, screenplay and direction.  It is an unforgettable experience.

Birdman (2014, dir. Alejandro G. Inarritu)

“Birdman” is a totally electrifying, exhilarating new film from director Alejandro G. Inarritu.  It has been painstakingly choreographed to contain a series of extremely complex, long takes in which characters move around throughout the contours of the snaking corridors of a theatre’s backstage, stage, and exterior streets on Broadway in New York City.

Michael Keaton, in the performance of his life, plays Riggan, a washed-up, former action hero star (he played the title character “Birdman”, over two and a half decades ago) who is trying to revitalize his career through a new Broadway play in which he is the lead.

This is without a doubt one the best films of 2014 and has some of the greatest performances you will see from that year as well.  Along with Keaton, there is Edward Norton, Emma Stone, Naomi Watts, Zach Galafianakis and others who contribute masterfully in their own parts to produce a work of surprising, jaw-dropping wonder.

It is an extremely self-reflexive piece:  Keaton who like his character Riggan, hasn’t had a breakthrough role in many years, was the star of Batman in the late 80’s and early 90’s and Riggan’s role as “Birdman” wittily reminds the viewer of this former role and real-life parallel.

The film is also reminds us of certain themes such as the fleeting nature of stardom and fame in contemporary Hollywood.  It is about the power of redemption and the fact that it is never too late to turn your life around and make amends to the people in your life who truly should be the most important.

With its extremely long takes (I imagine there were some tricks used to give the illusion that they are actually longer than they really are) the filmmaker produces a feeling of immediacy and buzzing excitement that you don’t see in many films.  It also makes use of touches of surrealist fantasy to propel the film into territories that are truly amazing and inspiring.

Few films I have seen in recent years have left me with an ecstatic feeling of giddiness at the end as “Birdman.” It is probably my favorite film from 2014 and I will remember it for a long time.

Boyhood (2014, dir. Richard Linklater)

Richard Linklater's "Boyhood" is a unique film for its concept of allowing its actors to age over the course of a twelve year period.  The film captures the actors and the characters they play at various times over these twelve years to bring about an evocative, bittersweet epic on the trials and tribulations of its characters, the transition from childhood to adulthood and essence of life itself.

Ellar Coltrane plays Mason who is 6 years old at the start of the film. By the film's end Coltrane and Mason, his character, is now 18 and has a whole new outlook, new interests and priorities. 

Some may criticize "Boyhood" for its lack of plot:  it is really a series of vignettes and anecdotes.  But, isn't this the way real life is?  Does life actually come with a pre-packaged, neatly put-together, and tightly-structured plot?  It is the freedom of this film and the way that it unfolds that makes it so compelling and truthful.

Linklater does a masterful job of capturing the flawed, eccentric nature of the way a life unfolds.  He has been known for his preoccupation with aging and time with such films as "Dazed and Confused" and the trilogy of "Before Sunrise" films.  With "Boyhood" he has taken the theme of the passage of time to a whole new, unprecedented level with a concept that evokes the "Up" documentary series in a fresh, original and fictionalized manner.

When you are finished watching this epic you are left with a sense of having witnessed something truly profound.  You are given a glimpse into the life trajectory of a family and given insight into the nature of existence like never before in film history.

Force Majeure (2014, dir. Ruben Ostlund)

A family of four receives their lunch in an outdoor restaurant overlooking the mountains in a beautiful ski resort.  Suddenly there is a loud explosion and an avalanche is happening on the nearby mountain.  It is a controlled avalanche, something that frequently happens here as the father explains.  But soon it looks as though the cascading snow will engulf them all.  The reactions to the crisis by the family members, and the results of these reactions are the focus of Ruben Ostlund's "Force Majeure".

The reaction in question is that of the father, Tomas (Johannes Kuhnke) who seemingly abandons his family in a panic to save his own skin.  The avalanche turns out to be a minor thing - though smoke and some snow comes into the restaurant, everyone is OK.  But because of Tomas's reaction, his wife and two children are left in a state of anger and dismay.  How could he be so selfish and not worry about the welfare of his family?

"Force Majeure" examines how Tomas and his family comes to terms with this decision.   The film is an engaging look at how relationships are put in jeopardy and family ties are threatened when one's true colours and cowardice are brought to the fore in an emergency situation.  The film really forces the viewer to question his or her own bravery/cowardice when faced with a similar crisis.  Tomas's reaction sheds light on the human condition and how the majority of us are out to save our own skin when all is said and done.

The film is sometimes uncomfortable to watch and its mixture of humour with seriousness subtly reinforces a sense of imbalance and uneasiness to its aura. 

The cinematography is quite stunning in its various shots of the mountains and resort and the performances are strong.  It raises questions as all works of art must and it will leave a strong impression on any viewer.

Love Is Strange (2014, dir. Ira Sachs)

“Love is Strange” isn’t very strange.  It is a fairly conventional drama, in fact.  The film is from director Ira Sachs and tells the tale of a newlywed gay couple, Ben (John Lithgow) and George (Alfred Molina).  Soon after their marriage at the beginning of the film, George is fired from his job forcing the couple to sell their apartment.  While they look for a new, more affordable place to live they have to move into separate living environments.  This new situation has repercussions for all involved, mostly negative.

Whether a film is conventional or not is irrelevant.  What matters is the general impression left upon the viewer by the film as a whole.  In that regard, this film is successful in making you feel good.  There are moments of beauty and truth.  It doesn’t come across as phony or trite but succeeds as a bittersweet glimpse into the lives of people in modern Western society.  It reflects the struggles we are experiencing today with relationships, finances, mortality and spirituality. 

There is one powerful sequence in which George, a music teacher, listens to his young student play a piece of music on the piano.  He is dissatisfied with her performance and asks her to replay to piece with more feeling and to make use of the instrument in a more harmonious way.  The music is accompanied by a series of shots reflecting the mood of the piece in a lyrical way.   It is sequences like this that propel the film into another place and add something to its overall quality, making it a little more special and meaningful to the viewer.

There is nothing earth-shattering about “Love is Strange.”  It is fairly conventional and won’t be remembered as one of the seminal films of 2014.  But, it is well-told, with interesting characters, and moments that may surprise you.

American Sniper (2014, dir. Clint Eastwood)

Chris Kyle (Bradley Cooper) was a deadly sniper, serving in four tours of the Middle East where he racked up nearly 200 kills with his razor sharp accuracy.  “American Sniper” tells the tale of the heavy psychological load Kyle had to carry in the aftermath of his service and how it affected him and those he loved.

In the video game generation we’re currently experiencing where gamers are able to cathartically live in the mind’s eye of first-person shooters, many of us may have become de-sensitized to the reality of taking the life of another human being.  In Clint Eastwood’s latest war film, we learn about the toll that the reality takes on those who put their lives on the line and are thrust into the role of a killing machine.

Eastwood expertly draws a portrait of what it is like to experience the role that Kyle takes on.  Like him, the viewer is given the opportunity to witness each death and the ramifications of each.  The viewer is given a real sense of the colossal death toll that Kyle is constantly expanding.  We are left with a real-time Post Traumatic Stress Disorder from simply watching this movie.  Unlike the video gamers, we are not de-sensitized and neither is Chris Kyle.  The weight of each kill is forever stacked one on top of another until we are left breathless by the end.  The war scenes in “American Sniper” are exciting, spellbinding and will leave the viewer riveted to the screen.

The viewer is given a rest in the home scenes where Kyle tries to live with his family.  We witness his distraction, anxiety and frustration at having to live with his status of hero for killing so many people.  He struggles to be there emotionally for his wife and children and Cooper does a masterful job of conveying his distress.

This is one of Eastwood’s best and is a paramount testimony to the sacrifices, painful decisions and trauma experienced by soldiers in any war.