What a mysterious, foreboding and riveting film this is. Scarlett Johansson stars as a nameless alien in the disguise of a seriously attractive woman who preys on unsuspecting men in a Scottish town. She drives around at night asking, seducing and compelling men to get into her car and come back to her place. Once back, they are trapped like flies in a spider's web, in a perplexing method that can only be attributed to an otherworldly being's diabolical desire.
Several things happen throughout this film that are given no causal explanation or leave the viewer reeling with questions that go unanswered. This is not a complaint about the film but is in fact, one of its charms: there are scenes and appearances by certain characters that defy narrative cuing or straightforward story-telling logic. I won't go into detail, but the baffling film has to be seen to be believed, (mis)understood, and enjoyed.
There are men who are able to escape the lure of the unconventional, complex alien character played marvelously by Johnansson. One individual has a severe facial disfigurement. Perhaps his loneliness or his alien-like existence persuade her to let him go in the end. We'll never know for sure. There's another man who offers assistance to her and provides her with a place to stay when she is in apparent distress. They become intimate in a surprising series of scenes and he ends up surviving.
There are compelling visual stylizations and motifs throughout this film. Director Glazer, inventively creates a dreary, overcast Scotland with certain hypnotic sequences that add to the effectiveness of the overall film and pushes the film into even more mysterious territory. Some will say that the film is too slow or weird for their taste. But, I was won over by this haunting story of what an alien being does to get by.
Thoughts and insights on film, television, and other aspects of culture by Matthew J. White.
Tuesday, September 30, 2014
Thursday, September 18, 2014
The Immigrant (2013, dir. James Gray)
I would like to offer 5 reasons that this film should be enjoyed by all. (It is a great film):
1. The Performances.
Marion Cotillard is one of the most beautiful actresses around and in "The Immigrant" she is astounding as a young Polish immigrant who struggles for survival in a cruel, and unforgiving New York City in 1921. Cotillard's performance is nuanced and poignant. She brings a richly-layered, full-bodied character to life in a way that no other actress can accomplish. She plays Ewa Cybulska, a woman who is forced into prostitution to provide medical care for her ailing sister, Magda, who is quarantined in a hospital on Ellis Island. Cotillard brings dignity and transcendence to Ewa, making her totally sympathetic but, at the same time, not turning her into a cliched character.
Equally amazing are Joaquin Phoenix and Jeremy Renner. Phoenix's Bruno is a multilayered, conflicted boss/pimp who's love for Ewa is as doomed as it is impossibly tragic. Renner's Emil, Bruno's cousin, is a magician who also finds himself in love with Ewa. Renner's character is a brilliant foil to Phoenix's and there scenes together are charged with tension and palpable electricity.
2. The Period Detail.
The New York City of 1921 that is depicted in "The Immigrant" is an amazing achievement in technical virtuosity. There is a cohesive contrast between totally accurate period detail and a stylized, exaggerated, fictional universe that is reminiscent of painting and photographs of the period that gives the film its own unique visual character.
3. The Allusions to Past Films.
The most striking and obvious reference of "The Immigrant" is to Francis Ford Coppola's "The Godfather Part II", specifically the scenes with a young Vito Corleone in New York City. The outdoor scenes on the streets of Gray's film obviously had Coppola's film as a reference. It is not however, theft but a celebration and loving tribute to that 1974 film. There are other references and allusions: "Once Upon a Time in America" comes to mind as well as "McCabe and Mrs. Miller".
4. The Story.
This is a captivating narrative of despair and redemption. It forces you to look at the dirty, gritty, sinful side of life without averting your eyes. It is often uncomfortable to look but it is riveting. The trajectory of the characters takes the viewer on a thrilling ride through the ups and downs of the lives of people struggling to live life with whatever dignity they can muster.
5. The Cinematography.
DP Darius Khondji is a master and he turns the film into a visually breathtaking event. The camera work is versatile and efficient. There is a certain resolution reached between what almost seems almost like black and white photography with a colorization that is appropriate to the time and place in which the film is set. There seems to be an ever-present overcast in the outdoor scenes which sheds light on the mind-set of the characters and the mood of the film overall.
1. The Performances.
Marion Cotillard is one of the most beautiful actresses around and in "The Immigrant" she is astounding as a young Polish immigrant who struggles for survival in a cruel, and unforgiving New York City in 1921. Cotillard's performance is nuanced and poignant. She brings a richly-layered, full-bodied character to life in a way that no other actress can accomplish. She plays Ewa Cybulska, a woman who is forced into prostitution to provide medical care for her ailing sister, Magda, who is quarantined in a hospital on Ellis Island. Cotillard brings dignity and transcendence to Ewa, making her totally sympathetic but, at the same time, not turning her into a cliched character.
Equally amazing are Joaquin Phoenix and Jeremy Renner. Phoenix's Bruno is a multilayered, conflicted boss/pimp who's love for Ewa is as doomed as it is impossibly tragic. Renner's Emil, Bruno's cousin, is a magician who also finds himself in love with Ewa. Renner's character is a brilliant foil to Phoenix's and there scenes together are charged with tension and palpable electricity.
2. The Period Detail.
The New York City of 1921 that is depicted in "The Immigrant" is an amazing achievement in technical virtuosity. There is a cohesive contrast between totally accurate period detail and a stylized, exaggerated, fictional universe that is reminiscent of painting and photographs of the period that gives the film its own unique visual character.
3. The Allusions to Past Films.
The most striking and obvious reference of "The Immigrant" is to Francis Ford Coppola's "The Godfather Part II", specifically the scenes with a young Vito Corleone in New York City. The outdoor scenes on the streets of Gray's film obviously had Coppola's film as a reference. It is not however, theft but a celebration and loving tribute to that 1974 film. There are other references and allusions: "Once Upon a Time in America" comes to mind as well as "McCabe and Mrs. Miller".
4. The Story.
This is a captivating narrative of despair and redemption. It forces you to look at the dirty, gritty, sinful side of life without averting your eyes. It is often uncomfortable to look but it is riveting. The trajectory of the characters takes the viewer on a thrilling ride through the ups and downs of the lives of people struggling to live life with whatever dignity they can muster.
5. The Cinematography.
DP Darius Khondji is a master and he turns the film into a visually breathtaking event. The camera work is versatile and efficient. There is a certain resolution reached between what almost seems almost like black and white photography with a colorization that is appropriate to the time and place in which the film is set. There seems to be an ever-present overcast in the outdoor scenes which sheds light on the mind-set of the characters and the mood of the film overall.
Sunday, August 31, 2014
The November Man (2014, dir. Roger Donaldson)
Pierce Brosnan is getting older. As evidence from his latest caper "The November Man", he's no spring chicken. According to the Internet Movie Database, he was born in 1953 so that makes him just over 60 years old. Thankfully, he doesn't make the mistake of trying to play a young man in "The November Man": he is world-weary, but his stellar world-experience is what makes him into an impeccable spy-action-thriller star and character.
In Roger Donaldson's film, Brosnan plays Devereaux, a slick, former CIA operative who is forced back into action as a result of a conspiracy that involves a Russian presidential candidate and Devereaux's own wife and daughter.
This film is action-packed, and the adrenaline level is at a high point from start to finish. As stated, Brosnan is great in this role as an old dog with several new tricks up his sleeve. It takes place in Russia and surrounding locales. It can be confusing at times, but the plot is clarified at certain points throughout the film that allows the viewer to gain grounding within the arc of the story.
It is basically fairly conventional: it doesn't contain any flashy stylistic motifs or character. It is mostly a run of the mill spy thriller with few surprises. But, the story and action sequences are compelling and exciting. It leaves the viewer at the edge of his or her seat. There are better films from the genre but "The November Man" is a welcome addition to this type of film.
In Roger Donaldson's film, Brosnan plays Devereaux, a slick, former CIA operative who is forced back into action as a result of a conspiracy that involves a Russian presidential candidate and Devereaux's own wife and daughter.
This film is action-packed, and the adrenaline level is at a high point from start to finish. As stated, Brosnan is great in this role as an old dog with several new tricks up his sleeve. It takes place in Russia and surrounding locales. It can be confusing at times, but the plot is clarified at certain points throughout the film that allows the viewer to gain grounding within the arc of the story.
It is basically fairly conventional: it doesn't contain any flashy stylistic motifs or character. It is mostly a run of the mill spy thriller with few surprises. But, the story and action sequences are compelling and exciting. It leaves the viewer at the edge of his or her seat. There are better films from the genre but "The November Man" is a welcome addition to this type of film.
Sin City: A Dame to Kill For (2014, dir. Frank Miller, Robert Rodriguez)
Comic book movies are all the rage these days in Hollywood and superheroes are omnipresent. The Sin City graphic novels are a little different: they don't contain heroes but anti-heroes.
The dark world of Sin City borrows heavily from the world of Film Noir. This cinematic style was codified in the 40's and 50's in films with femme fatales, shadowy cinematography, and men who's souls were on the precipice, forced to gaze into the depths of their darkest desires and dreams. "Sin City: A Dame to Kill For" is no exception to these conventions and codes of the film noir world. But it also adds its own alluring twist on the established norms by making a highly stylized and comic-book-like texture to the already heavily stylized landscape. "Dick Tracy" comes to mind as a predecessor. But the world of this Sin City installment, like its previous one, is sultry, seedy and seductive in ways that almost push it over the top.
There are a few different, sometimes intersecting story-lines. The most riveting for me starred Joseph Gordon-Levitt as a card-shark who never loses a game. But, his inability to lose puts him in a dangerous position with the local crime-boss who will do anything to establish his power game in this God-forsaken town.
This is not as good as the original in the series and a lot of the story will have you scratching your head in puzzlement. I liked the acting: there are charismatic turns from Mickey Rourke, Jessica Alba, and Dennis Haysbert. This is definitely not the best film of the summer and will probably be forgotten in a couple of weeks. But it has its rewarding moments and has the potential to keep you slightly spell-bound for a couple hours with its visual splendor and dark artistry.
The dark world of Sin City borrows heavily from the world of Film Noir. This cinematic style was codified in the 40's and 50's in films with femme fatales, shadowy cinematography, and men who's souls were on the precipice, forced to gaze into the depths of their darkest desires and dreams. "Sin City: A Dame to Kill For" is no exception to these conventions and codes of the film noir world. But it also adds its own alluring twist on the established norms by making a highly stylized and comic-book-like texture to the already heavily stylized landscape. "Dick Tracy" comes to mind as a predecessor. But the world of this Sin City installment, like its previous one, is sultry, seedy and seductive in ways that almost push it over the top.
There are a few different, sometimes intersecting story-lines. The most riveting for me starred Joseph Gordon-Levitt as a card-shark who never loses a game. But, his inability to lose puts him in a dangerous position with the local crime-boss who will do anything to establish his power game in this God-forsaken town.
This is not as good as the original in the series and a lot of the story will have you scratching your head in puzzlement. I liked the acting: there are charismatic turns from Mickey Rourke, Jessica Alba, and Dennis Haysbert. This is definitely not the best film of the summer and will probably be forgotten in a couple of weeks. But it has its rewarding moments and has the potential to keep you slightly spell-bound for a couple hours with its visual splendor and dark artistry.
Labour Day (2013, dir. Jason Reitman)
This past weekend, I was browsing through my local video rental store. A young woman and her boyfriend were browsing as well and when they came to Jason Reitman's "Labour Day" on the shelf, I overheard the woman say that she had seen it on a flight and that it was an extremely "sad" movie. Having already viewed the film the previous weekend, I went over my impressions of the film in preparation to write this review. I would have to disagree with the statement that it is sad overall. It is at times tense, yes, bittersweet even. But in the end, it can be described as a positive, life-affirming motion picture.
Kate Winslet stars as a single mother raising her pre-teen son (Gattlin Griffith) in a Massachusetts town in the 1980's. She has social anxiety issues and seldom ventures out in public places. On an occasion where she is out grocery shopping with her son, a man (Josh Brolin) who has recently escaped from a local prison demands that she bring him back to her house so he can hide out. He takes them hostage for a while but the two become fond of one another. Soon the man is cooking and fixing things around the house. There is constant tension around what will happen to the mother and child and whether the man will be discovered by the police.
It is really simple but it works. We get to like these characters as we watch them interact. They are unique and complex. Some moments will make the viewer question the realism of the situation and whether the characters' reactions are appropriate and life-like. Because we are emotionally invested in these characters and like them, we are on the edge of our seats as to what will happen next.
There are unexpected moments and the performances are strong. I liked Brolin and Winslet's onscreen chemistry and I felt I was watching something that really happened. This film will not be everyone's taste but I was partially won-over by "Labour Day".
Kate Winslet stars as a single mother raising her pre-teen son (Gattlin Griffith) in a Massachusetts town in the 1980's. She has social anxiety issues and seldom ventures out in public places. On an occasion where she is out grocery shopping with her son, a man (Josh Brolin) who has recently escaped from a local prison demands that she bring him back to her house so he can hide out. He takes them hostage for a while but the two become fond of one another. Soon the man is cooking and fixing things around the house. There is constant tension around what will happen to the mother and child and whether the man will be discovered by the police.
It is really simple but it works. We get to like these characters as we watch them interact. They are unique and complex. Some moments will make the viewer question the realism of the situation and whether the characters' reactions are appropriate and life-like. Because we are emotionally invested in these characters and like them, we are on the edge of our seats as to what will happen next.
There are unexpected moments and the performances are strong. I liked Brolin and Winslet's onscreen chemistry and I felt I was watching something that really happened. This film will not be everyone's taste but I was partially won-over by "Labour Day".
Lucy (2014, dir. Luc Besson)
Apparently, we only use a small percentage of our brain power, maybe 10%. Luc Besson's new film, "Lucy" imagines what it would be like if a human being had the ability to use increasingly larger amounts of his or her total brain all the way up to 100% capacity.
The film stars Scarlett Johansson as the title character who initially gets caught up in the wrong place at the wrong time. Her boyfriend is involved in a deal with organized crime and Lucy gets whisked into the boiling pot of treachery. Eventually, she finds herself implanted with a mysterious powder substance in a plastic baggie which, when broken open inside of her body, starts to leak the powder into her circulation. This substance is what gives her the power to use ever-increasing totalities of her brain power. It gives her super-human abilities: she can win any fight now and also develops mind-over-matter abilities including certain psychic and telekinetic powers.
The film also stars Morgan Freeman in a role as a university professor who asks the question that is the main idea behind the film: what if we could use more of our brain? Eventually, Freeman and Johansson's characters meet up and are able to help each other in certain ways.
The film is imaginative and unique with interesting special effects and philosophical ideas. The most alluring moment happens at the end when Lucy reaches full brain power capacity. I won't give away anything that happens but it is an imaginative cinematic experience which will force the viewer to question preconceived notions of the nature of reality and the breaking down of the mental barriers we put up between space and time.
At 1 hour and 30 minutes, it is a short mind-trip of a movie. But it will excite you, thrill you, and challenge your brain in unconventional ways with its interesting ideas and themes.
The film stars Scarlett Johansson as the title character who initially gets caught up in the wrong place at the wrong time. Her boyfriend is involved in a deal with organized crime and Lucy gets whisked into the boiling pot of treachery. Eventually, she finds herself implanted with a mysterious powder substance in a plastic baggie which, when broken open inside of her body, starts to leak the powder into her circulation. This substance is what gives her the power to use ever-increasing totalities of her brain power. It gives her super-human abilities: she can win any fight now and also develops mind-over-matter abilities including certain psychic and telekinetic powers.
The film also stars Morgan Freeman in a role as a university professor who asks the question that is the main idea behind the film: what if we could use more of our brain? Eventually, Freeman and Johansson's characters meet up and are able to help each other in certain ways.
The film is imaginative and unique with interesting special effects and philosophical ideas. The most alluring moment happens at the end when Lucy reaches full brain power capacity. I won't give away anything that happens but it is an imaginative cinematic experience which will force the viewer to question preconceived notions of the nature of reality and the breaking down of the mental barriers we put up between space and time.
At 1 hour and 30 minutes, it is a short mind-trip of a movie. But it will excite you, thrill you, and challenge your brain in unconventional ways with its interesting ideas and themes.
Wednesday, August 13, 2014
Life Itself (2014, dir. Steve James)
As an amateur film critic, I can safely say that I wouldn't be attempting to do what I do had it not been for Roger Ebert. He was a guiding light in my early days of movie watching - his reviews on his syndicated review show on television with Gene Siskel and later Richard Roeper, would kindle my desire to delve into the depths of movie lore and expand my imagination in regard to film watching in countless ways. His print reviews I would pour over in various book collections and his online review site and blog.
Steve James' new documentary digs into the legendary film critics life and explores his early years in Illinois, his rise to prominence as a film critic for the Chicago Sun-Times, to his last days as an ailing man in his 70's trying to recover from jaw surgery and the onslaught of cancer.
Ebert as portrayed in this film, was larger than life. He did more for film criticism than any other man in history and his legacy will live on for years after his death. I loved him like a close friend. His reviews were engaging. When he loved a film you could feel his passion. When he loathed a film his incendiary reviews could often make you laugh out loud at their audacity and scorn.
The film borrows the title from Ebert's memoirs published a few years ago and contains narration taken from that source material. There are many memorable scenes in this film and they are all entertaining. I loved the scenes about Ebert's volatile partnership with Gene Siskel. There are outtakes from their show that are hilarious.
It is painful to see Roger in his post-surgery days but you can still see the enthusiasm and joy for life that has been present from his birth. The film does a good job of bringing his monumental presence in the world of film criticism to light. I will continue to read his reviews and if I can write anything that comes close to 1/100th of the insight and intelligence that his writing demonstrated I would feel like I'm getting closer to some kind of success.
Steve James' new documentary digs into the legendary film critics life and explores his early years in Illinois, his rise to prominence as a film critic for the Chicago Sun-Times, to his last days as an ailing man in his 70's trying to recover from jaw surgery and the onslaught of cancer.
Ebert as portrayed in this film, was larger than life. He did more for film criticism than any other man in history and his legacy will live on for years after his death. I loved him like a close friend. His reviews were engaging. When he loved a film you could feel his passion. When he loathed a film his incendiary reviews could often make you laugh out loud at their audacity and scorn.
The film borrows the title from Ebert's memoirs published a few years ago and contains narration taken from that source material. There are many memorable scenes in this film and they are all entertaining. I loved the scenes about Ebert's volatile partnership with Gene Siskel. There are outtakes from their show that are hilarious.
It is painful to see Roger in his post-surgery days but you can still see the enthusiasm and joy for life that has been present from his birth. The film does a good job of bringing his monumental presence in the world of film criticism to light. I will continue to read his reviews and if I can write anything that comes close to 1/100th of the insight and intelligence that his writing demonstrated I would feel like I'm getting closer to some kind of success.
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