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.