Tag Archives: Scarlett Johansson

Months in Review: September & October films (part I)

It is absolutely incredible to me that we are already in November. It feels as if Summer lasted about a week, Spring no more than 2 days and that Winter was about a month ago.

Per usual, my blog has been more inactive than I would like it to be but after 2-3 years of keeping the same pace, it’s about time I come to accept the infrequency of my blogging.

I have managed to stay within an average of watching at least 10 new films per month, with the goal of hitting at least 120 new films seen in the calendar year (I don’t think I’ve seen more than 10 repeats)

In September I watched 13 films averaging an unusually high 3.5 out of 5 score product of 6 films that hit 4 or 4.5 out of 5. Also an unusually high number.

In October, however, things went back to normalcy. I watched 10 films averaging 3.15, with only two of these getting a 4 out of 5.

To keep the posts manageable, I will divide them into two parts. One dedicated to September, and the other to October. Below my short impressions of each:

GONE BABY GONE (2007) [ 3.5/5 ]

Gone Baby Gone felt like an extended episode of Law & Order featuring a great cast that includes the likes of Morgan Freeman and Casey Affleck.

Set in a gritty, dark and unwelcoming part of Boston, the film tells the story of a private investigator and his partner searching for a missing girl. The characters are, for the most part, excellently conceived, filled with complexity and contradictions.

The moral question at the heart of the movie, which is presented to us in the last act, is one that is difficult to answer, probably splitting audiences in half back when the film was released in 2007.

What doesn’t work as well are the ways in which the film reaches those moral dilemmas, often opting to grab audiences by the hand, and never fully trusting viewers to make their own connections.

Casey Affleck’s performance is especially engaging in a role that has some of the ticks but not quite the range of his well-deserved Oscar-winning turn in Manchester by the Sea.

KONG: SKULL ISLAND (2017) [ 3.5/5 ]

The latest reboot of King Kong is an attempt to bring the big ape to a new generation of filmgoers, giving audiences an origin story that, in all honesty, fails to live up to the long cultural significance of Kong in the big screen.

Aside from a particularly weak premise that sets the events of the film in motion, Kong is packed with well crafted and entertaining set pieces that keep the film from succumbing to its general lack of originality. John C. Reilly’s late cameo is one of the film’s pleasures and the only character I found myself rooting for.

THE PRESTIGE (2006) [ 4/5 ]

The Prestige was very much a precursor to Christopher Nolan’s amazing work in Inception. Like that film, The Prestige is built upon a story that is rich in complexity where every shot and every bit of dialogue serves the film’s ultimate reveal. As with the rest of Nolan’s impressive body of work, The Prestige hides its secrets by limiting our point of view. It works only by placing us in the thick of the story, while leaving a crucial perspective out until the end. As engaging and wildly unpredictably as the plot is, the invisible hand that moves all the gears and fits all the pieces into place seems a bit more conspicuous than usual.

Being so familiar with the director’s work was a bit of a detriment to the experience, expecting the perfectionism and directorial dexterity of Christopher Nolan to sweep us up at the end, cleverly tying in the film’s many loose pieces.

Having said this, The Prestige is one hell of a cinematic experience that is nearly as imaginative and deceptive as the director’s best work.

LEGEND (2015) [ 4/5 ]

A magnificent dual performance by the always surprising Tom Hardy headlines this wild gangster film set in midcentury London. The thespian plays Reggie and Ronnie Cray; one the suave and elegant empresario with a talent for boxing who desires love and success, and the other his psychologically disturbed bloodthirsty twin with a lust for sex, men and, of course, violence.

Most of what the film tries to say isn’t new or particularly inventive, but I did appreciate its take on the weight of family ties and how one rotten apple can sometimes bring a blossoming empire crashing down.

I also appreciated the film’s dark and twisted humor, its rich assortment of characters and the evil pleasure with which it tells what is a rather tragic tale.

One of the most underrated films of 2015.

A MONSTER CALLS (2016) [ 4.5/5 ]

Candidate to the Blog of Big Ideas’ 250 Essential Films

A beautiful film that moved me to tears. A story about loss and grief that I found extremely poetic and engaging. Though it may turn off some people due to its fantastical elements, A Monster Calls is, by no means, a kids’ film; instead, it is a carefully crafted drama of great emotional resonance that uses fantasy to great effect. I shall be posting a full review in the coming days.

NEON DEMON (2016) [ 3/5 ]

A slow burning and stylish film from Scandinavian director Nicholas Winding Refn set against flashing cameras and the orange glow of the city of Angels.

Like his film Drive, Refn spends most of the film’s running time enamored by the facile beauty of its movie star: Elle Faning, who plays a character both exasperating and relatable, humble at first sight but fundamentally narcissistic. She is treated both as the muse in distress hunted by jealous competition, and also as a sort of virus that has arrived to disrupt the natural order. Such dichotomy is at the heart of the film and it is ultimately what I found most interesting about it.

Sadly, the film lacks momentum, getting lost in its parsimony, with a script filled with holes that do nothing but serve Winding Refn’s brand of filmmaking which can often overwhelm the storytelling.

STRAIGHT OUTTA COMPTON (2015) [ 3/5 ]

A biopic on the rise and fall of rap supergroup NWA that is entertaining without being particularly nuanced or thought-provoking.

Part of the problem lies on a script that is too heavily focused on the highlights of the lives that made NWA a reality. As a result, the film feels more like a made for tv 2-hour special, rather than an engaging study on the group members and what made them such a potent artistic force.

Straight Outta Compton also feels like a film that was tinkered and edited in post-production to take away the focus from weaker actors: O’Shea Jackson Jr. and Corey Hawkins, playing Ice Cube and Dr. Dre respectively; and give the spotlight to the always great Paul Giamatti, playing the sleazy and conniving manager, and actor Jason Mitchell, playing the late rapper Eazy-E with surprising emotional conviction.

DO THE RIGHT THING (1989) [ 3.5/5 ]

Spike Lee has always been one of those directors whose persona has loomed large in my decision to approach his work trepidatiously. His oeuvre is one that I have only recently began to dip my toes in, first with Chi-Raq, and now with what many critics call his masterpiece: Do The Right Thing.

In defense of the modest 3.5/5 score I give the film, I found that Lee’s work in this predominantly African American treatise may be one of those that, in order to be appreciated, both time and successive viewings may be required.

While his most recent work in Chi-Raq is one that attempts to tackle many large subjects through a tight and clear story; Do The Right Thing is the kind of large, expansive, complex and theatrical exposition about racial relations in the United States that I found to be more relevant as a historical document rather than as an artistic piece. My problem with it is that I simply could not make the transition from the almost whimsical African American micro-universe that Spike Lee had created in almost 90 minutes of film to the very violent and tragic last act. It was an abrupt and hard transition that I simply could not get on board with, despite appreciating the boldness behind the choice.

In addition, I found it unfortunate that Spike Lee made the decision to also take on the lead role, often looking flat opposite an excellent cast of actors.

MOTHER! (2017) [ 4/5 ]

A film so intense that I left the theater feeling exhausted. In the days that followed my trip to the theater, my esteem and appreciation for Darren Aronofski’s latest piece grew, and could easily become a favorite in the years to come.

If you’re so inclined, you can find my full review of the film here

TOWER [ 4/5 ] (2016)

I was introduced to this very good documentary courtesy of the best podcast on film out there: filmspotting.net

The film is one that deals with a very current subject, mass shootings, but it does so by focusing on the victims, both dead and alive, of a single tragic episode without precedent that occurred at the University of Texas at Austin in 1966.

The documentary, directed by Keith Maitland, is as nuanced an exposition of the horror of such an experience as you’re likely to find. It’s both affecting and engaging, creatively crafted using a style of animation that is both painterly and evocative, capturing the emotional drama, while softening the horrific violence.

A must-watch for cinephiles aspiring to make documentaries on tough and difficult subjects with tact and attention to detail.

THE BIG SICK (2017) [ 4/5 ]

Based on the real circumstances that surrounded the relationship of writers Kumail Nunjiani and Emily V. Gordon, The Big Sick is a breath of fresh air in the romantic comedy genre.

Apart from being genuinely funny from beginning to end, the film was surprisingly touching, giving each one of its characters tangible and credible personalities, with only the occasionally cheesy one-liner.

It helps that the relationship at its center worked, and both Kumail and Zoe Kazan deliver crafty performances that are witty and surprisingly nuanced.

The Big Sick is clearly a labor of love inspired by love. One of the best films of 2017.

THE DEAD ZONE (1983) [ 2.5/5 ]

One of the biggest disappointments of late. The Dead Zone is one of those cult films that has survived the passage of time based solely on the curiosity of cinephiles willing to invest a couple of hours to explore the odd pairing of director David Cronenberg and a rare lead performance by Christopher Walken.

The actor plays Johnny Smith who, after a 5-year coma, wakes up to find his fiancé has moved on, his job is gone and, more importantly, that he has psychic powers he must suddenly contend with.

Even when there is something of merit to be found in the film’s interesting explorations of the psychological ramifications of wielding such power, Cronenberg’s execution is terribly uneven.

The dramatic scenes feel staged, the performances unnecessarily heightened, the camerawork is sloppy and the major set pieces anticlimactic.

SNATCHED (2017) [ 2.5/5 ]

After the success and unexpected quality of Amy Schumer’s first starring role in a feature film in 2012’s Trainwreck, I half-expected the stand-up comedian to follow it with something catastrophically bad (in what the industry commonly calls the sophomore slump).

What is surprising about this mind-numbing slapstick comedy is that there is enough comedic chemistry between Goldie Hawn and Schumer as mother and daughter to make the film bearable.

Having said that, I still wish Schumer and Hawn could have done something a lot more worthwhile.

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Months in Review: February, March & April

The tail end of winter seems to have left us and, with it, the start of a new romance in my life. For that and other professional reasons, I have, once again, neglected this blog of mine. Even so, my appetite for movies remains unchanged even if life has a way of sneaking up on the time you thought you had.
In the last three months (February, March and April) I have watched a total of 24 films. The average rating for these has been a solid 3.34 out of 5. There have been a handful of highlights courtesy of a group of films from 2016 that sit among the best reviewed of the year. Such are Fences, Edge of Seventeen, Hidden Figures and Lion. However, I have also been disappointed with cinematic efforts that I was genuinely excited to see. Such are Florence Foster Jenkins, Ghost in the Shell and, to some extent, Hacksaw Ridge.

Continue reading Months in Review: February, March & April

Months in review: March, April & May

Mad Max Fury

Sometimes it takes moving from one place to another, being extremely busy with work, renovating a new condo, dealing with some family matters and trying to sell the place you’ve been living in for the past year to realize that whatever you thought “busy” meant; it is probably nothing compared to how it has been lately.

Even though my blogging has continued to suffer, I still try to make time for movies. In the last three months I have managed to watch 25 films (11, 10 and 4 respectively). The average score in March was a decent 2.95/5, while April passed with a slightly better 3.1 and May was pretty great with an average of 3.875/5. Of the 25 films, four cracked the 4/5. First, it was the very bleak yet very powerful Oslo, August 31st, followed up by the very well-made documentary Life Itself that touches on the life of the late and great Roger Ebert., the moving doc Dear Zachary and the sensational Mad Max: Fury Road.

Below a summary, in order of viewing, with short reviews of each film I saw in the last 3 months. You might also notice quite a number of sci-fi films, especially those interested in robots and artificial intelligence:

Continue reading Months in review: March, April & May

The Best Moments in Film: A family drowns at a beach in Under the Skin

Under The Skin

I came out of the theater in a mix of frustration and puzzlement back in the summer of 2014. Jonathan Glazer’s Under The Skin was, and still is, many moons later, a difficult film to embrace. Every shot seemed to stretch out into infinity, relentlessly demanding that we observe, analyze and break apart every moment and every bit of dialogue. For every thrilling bit of film reel that was full of mystery and suspense, there were equally frustrating shots that seemed void of substance.

Continue reading The Best Moments in Film: A family drowns at a beach in Under the Skin

A preview to the Academy Awards

 

The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.

There is something mystical about the Academy Awards. Even when actors and directors and cinematographers try to deny it, the Oscar remains Hollywood’s grandest and most cherished prize. Despite the glaring omissions that plague the list of winners and nominations every year, The Academy gets it right sometimes, which is more than many awards shows can say. It helps, of course, that the Academy is favored by a 87th year long history that when compared to the 72 years of the Golden Globes, or the 67 years of the Bafta, it makes the accolade all the more respectable and appreciated, if only for its accumulated wisdom over rivals.

Continue reading A preview to the Academy Awards

Reminiscing about the best & worst of 2014

Robin Williams

It’s been nearly a week since 2015 has begun to test our mettle. 2014 is now in the past and with it, a year filled with personal success that did not translate well into a lot of film watching and reviewing. It was, for me, an excellent year nonetheless, in which I was able to purchase my first property, finish my first marathon, visit Paris for the first time, and receive approval for a work visa to stay in the United States.

My blog suffered greatly in 2014 in part due to all of these activities and important “distractions”. I managed to post only 15 times in 12 months, and I watched 94 films that, when compared to 2013’s sum of 143 films, leaves a lot to be desired. With that in mind and with the resolve to improve greatly on these numbers, I look back at some of the best and worst experiences with film in the past year (following post to focus on TV and videogames). The following is not meant as a post about the “best films of 2014” (that will come in a later post when I begin to catch up), but rather as a summary of my own experiences with new and old releases.

Continue reading Reminiscing about the best & worst of 2014

Best films of any year watched in 2014

July was a good and busy month. I’ve been preparing to run the Chicago Marathon this coming October, and running has now taken a significant chunk of my time, especially as the date gets closer and closer. Despite a hectic couple of weeks at work, I was finally able to dedicate a little bit more time to this blog of mine, and watch a few more films than I have recently. In lieu of my “best 2014 films of the first half of the year”, I offer my thoughts on the best films of ANY YEAR that I have managed to watch since January.

12-years-a-slave

Continue reading Best films of any year watched in 2014

Catching up after the World Cup. 2014 in review

 

Christ_the redeemer

It’s been just over a month since my last post on this blog of mine. Though my attempt was to continue to keep it flowing with new reviews and monthly round-ups, there was this mammoth-size event looming on the horizon: the 2014 World Cup in Brazil.

Continue reading Catching up after the World Cup. 2014 in review

Months in review: March, April & May (part II)

Continued from last post.
Below a list of short reviews of films, books and videogames watched, read or played in the last couple of months. Due to unexpected delays, I had to add films that I’ve watched in May. Hopefully I can catch up by next month.

FILM: (cont.)

AMERICAN HUSTLE (2013) [4/5]

American Hustle

 

Probably the wildest and funniest film by director David O. Russell up to this point. Find my full review here.

Continue reading Months in review: March, April & May (part II)