Good times.
SEPTEMBER:
Sunrise (1927)Reputed to be one of the crowning achievements of the silent era (and the first movie to be awarded an "artistic" Academy Award), Sunrise is steeped in prestige and rightfully so. Still, for my money, The Last Laugh was actually superior (more entertaining, more technically awesome, more surprising) - Sunrise sags a little in the middle (a pig drinking wine?) and seems a little more dated than other silents I've seen.
Music and Lyrics (2007)
Seems sort of like the polished, Hollywood star-driven version of Once, and that's not to diminish Once - there's just a lot of small similarities. Most obviously, the movie seems to have some genuine heart to it, particularly when it comes to the writing and performing of the songs. Add some spectacular 80's in-jokes (the opening "Pop Goes My Heart Video" was enough to justify the rental in and of itself), hilarious pop-star roasting and a suitably sappy 80's pay-off, and the final product is a clever and satisfying little movie. I normally avoid these kinds of sap-fests but this was a good one.
The Hoax (2007)
Much much better than expected - a clever, light and surprisingly funny sort of intellectual "heist" film where the biggest surprise is just how far Clifford Irving is willing to go to sell his lies. Richard Gere - who I usually can't stand - is pretty fantastic as Irving, providing bullshit and bullheadedness in equal measure. Alfred Molina and Eli Wallach (!!) are pleasant surprises.
The White Diamond (2004)
Spectacular. Herzog in his element, chasing another crazy dreamer as he pursues an extraordinary and seemingly irrational mission. However, it's the little details that makes Herzog's docs so special (the swifts in flight, the musings of the Guyan crew member on the inflatable chair, the history behind the airship); he's at the top of his game here. Unforgettable stuff.
Blades of Glory (2007)
These sorts of long-form SNL skits can be hilarious (Anchorman, Old School) or absolutely terrible (Night at the Roxbury, Ladies Man) - thankfully this was in the former group. In fact, I think I enjoyed Blades more than any Will Ferrell movie in the last few years. The film starts out strong but actually gets better (I was a little worried that the best jokes were spent 45 minutes in - not so). Finale is killer.
The Mother of Tears (2007)
Disappointing, even with Dario Argento in attendance at the screening. The gore is spectacular (and as intense as you might expect from Argento) but the scares are nowhere to be found. Suspiria got under my skin for weeks, but this "sequel" didn't have nearly the same punch or sense of overpowering dread. Chalk it up to some strange choices in the first half and a very soft ending. I was also disappointed that Claudio Simonetti's score wasn't used more often (one of the most hypnotic elements of Suspiria is the Goblin soundtrack...this score was missing in action for huge stretches.)
Jar City (2007)
A very unique cop thriller that makes such particular use of its Icelandic location that Reykjavik might be described as an integral character in the film. In fact, within it lies a mystery and puzzle that wouldn't work if transplanted to any other part of the world. The photography is especially absorbing, capturing bleak and industrial angles of Iceland that sit in contradiction to the country's natural beauty, and the movie is populated with faces and performances very unlike anything in a Hollywood thriller (in particular Ingvar Eggert Sigurðsson in the lead role). All of this might make the film sound more than a bit arthouse, but in truth, it's as thrilling and engaging as any English-language cop-film. The Toronto Film Festival web-site described the film as CSI Reykjavik, but it reminded me much more of an otherwordly Narc. A typical crime film told from a surprisingly atypical direction.
Two Lane Blacktop (1971)It's extremely unusual for a movie about speed racing to coast along in first gear but that's exactly what this movie does. Formless and oblique, the "story" wanders and the "characters" seem to be half-formed ideas; in fact, the entire movie just sort of happens like passing traffic. I'm sure I missed the point on this, but I can say with some certainty that I was not as excited about this as other 70's road movies I've seen (Vanishing Point, Crazy Larry, etc.). This one seemed a bit like jazz I suppose - high art to some but elevator music to others...I'm afraid that I just couldn't find the wavelength.
No Country for Old Men (2007)
If it wasn't for the crackling dialogue, I might have a hard time believing this was a Coen Bros film - it's so much darker, bloodier and dangerous than anything they've done before, Miller's Crossing and Blood Simple included. Still, for all of the carnage (and there is an absolutely staggering amount of blood), the heart of the movie is in the meat surrounding the violence. The last act of the film certainly seems to be separating the viewers tapped deeply into the Coens' (and McCarthy's) ride from those simply enjoying a solid Hollywood action thriller. Performances are great all around and while there's no doubt that Javier Bardem and Tommy Lee Jones will pick up most of the raves, it's Josh Brolin who surprised me the most. One of the best movies I've seen this year.
[Update: since writing this initial response, I've seen the film a few more times and with each viewing, it continues to grow in stature. What's clear to me now is that the complete and surprising change-of-course in the final act is the very element that will buy No Country a seat at "Cinema Classics" table in years to come. Like a rock song that makes a surprising key-change in the last few minutes and essentially abandons the intial tune, No Country is on a deliberate and carefully set course from the opening minutes. And once you've learned the tune, it seems that there's no other place for the song to go. Remarkable.]Chrysalis (2007)
Touted as a sort of French Matrix by the Toronto Film Festival guidebook, Chrysalis, as it turns out, has a lot more style than substance. With all of its stylized European aesthetics and rail-thin model characters, the film feels like a sci-fi movie assembled from fashion magazine clippings. Even days later, I couldn't remember what the movie was about, but I could recall that everything about the movie left me cold and unenthused. Y'know...like a perfume ad?
Elizabeth: The Golden Age (2007)
Queen Cate is always breathtaking to watch. One of the few actors that I'd be content to watch reading the phonebook, but in a film like this, she's a walking work of art. In fact, I enjoyed this "sequel" much more than the original Elizabeth, in part because of the increased intensity from scene to scene, but also because of the escalating action (ho, battle?) sequences. Also, there's this chap named Clive Owen who virtually owns the movie whenever he shows up to work, looking ready to eat Elizabeth up for dinner. Costumes and design work scream Oscars and I'll be surprised if this film doesn't walk away with a gazillion nominations and awards. Plus special bonus: super-action battle-suit Elizabeth action figures should be the hotseller this holiday season!
[Update: Since seeing this premiere at the festival, the world at large seems to have either despised or entirely ignored The Golden Age, and I have to confess that I don't get it. This wasn't a fence-sitter for me - I thought the movie was glorious, sick, epic fun. One of those rare instances where I feel like I might have actually seen an entirely different movie than the rest of the planet.]
Gates of Heaven (1978)
This doc has been the must-see list for a long time and I have to admit that I was ultimately underwhelmed, maybe even a touch bored. Errol Morris is a great filmmaker, but this documentary seemed a little dated and stiff. Great subject matter though.
Encounters at the End of the World (2007)
Herzog's docs can usually be boiled down to key moments. In the case of Encounters, it's the shot of a lonely penguin waddling off to certain death amid a vast Antarctic wasteland and Herzog's dry narration that no force on earth could turn this animal around. In that moment is the image of the perfect Herzog protagonist: focused, barking-mad and fatally doomed. Encounters is in every way the anti-March of the Penguins that Herzog described when he introduced the film at the TIFF premiere. A minor work for Herzog but a remarkable doc nonetheless.
Diary of the Dead (2007)
Romero's re-imagining of the zombie world he created does exactly what it's designed to do: blows an unexpected blast of fresh air into the genre. Surprisingly light on both zombies and gore (given what it is), the movie focuses heavily on the way the modern world would react to the horror (and in so doing, sounds some similar chords to the also-excellent "World War Z"). Acting sometimes shows its "indie" roots with some lo-fi and rank-amateur performances, but nothing distracts from the larger spectacle: that George Romero could imagine and create a complete "world"...all over again. The first feature in what was probably my best movie-day of the year, I loved this one...
Juno (2007)
The highlight of this year's Toronto Film Festival, Juno is the sharply written and perfectly tuned comedy that will make monster fans the world over for both Ellen Page and Diablo Cody. Page in particular realizes a lead character who is ridiculously charming, unique and watchable no matter what she does. Cody, the first-time screenwriter soon to be pursued by every director in Hollywood, drafts a remarkable character-driven film that is less about teen pregnancy and more about the orbit of characters dealing with it. This is one of those rarest of movies - a warm and affectionate comedy that spins at its own particular frequency.People are going to lose their minds when this hits theatres...
[Update: Having seen the film again since the Toronto premiere, it's clear to me now that with each viewing the dialogue gets a bit more gimmicky even as the heart of the film gets larger. This is a really, really sweet movie and Juno nay-sayers (of which there seem to be quite a few) are the same sorts that give out apples at Halloween. You don't have to like the taste of sugar to appreciate that a lot of people love and will always love cupcakes.]Dr. Plonk (2007)
As someone who has fallen into a deep romance with silent films this year, this sounded like the perfect festival pick: a modern silent film about an oddball scientist in 1907 who predicts the end of the world and builds a time machine to travel to 2007 to stop it. The resulting film is a ton of fun, particularly for fans of old movies, building great silent comedy set-pieces and delivering really clever twists on silent conventions. The performances are nimble and almost perfect. The design of the time-machine (and labratories) are spot-on. If I could quibble (and I have to quibble), it would be that only two elements seem a little off: the run-time of the film (at 2 hours, it feels too long to be a traditional silent and should have been closer to 75 minutes like an old Keaton or Chaplin film); and the "new"-ness of the print itself which should have been weathered and aged to give the jumpy flavour of an old film - this one felt like new stock filmed in a new camera and processed with state-of-the-art equipment. As a result, something of the old silents was lost in the translation.
The Gold Rush (1925)
Ahhhh, the real thing and a comfort blanket at this point in time. A soulful Looney Tunes cartoon and the best Chaplin film I've seen to date.
Talk To Her (2002)
Well now. Here's a movie that starts in one place and finishes in quite another - I can't say much more without digging into spoiler territory but it's safe to say that this film goes in directions I couldn't possibly see coming. Stunning at every turn, and luscious in detail. A high quality piece of business that will reward anyone who is serious about good movies.
Shoot 'Em Up (2007)
Shameless, ridiculous and about as violent as any movie I can remember, I actually feel a touch guilty about how much fun I had with this. The movie is absurdly offensive in every regard but seems entirely aware of it; openly parading as a Looney Tunes serial (right down to the carrot chomping!), the film only slides off-course when it does precisely those things that cartoons aren't supposed to do - namely introducing a complex plot, character backstories and providing any rest from the manic violence. When the movie slows down, it's clear that it's complete trash, but when the bullets are flying and Clive Owen is dealing an impossible amount of death, you don't really care. It was a mistake to give the characters any time to breath...
Eastern Promises (2007)
Cronenberg gives good Viggo and I wouldn't be disappointed to see many more collaborations down the road. Again. To be honest, I had sort of high expectations for this film and the final product came in just a little south of what I was hoping for - still, an enormously solid piece of business that finds a sharp angle on the Russian underworld and digs deep into it. The "infamous" bathhouse scrap is pretty much one of the most insane fights I've seen in a film, almost overpowering in its viciousness!!
Incident at Loch Ness (2004)A clever little mockumentary that works largely because it rarely stops to wink at the audience. The Herzog in-jokes are hilarious and the subtle way that the film gradually reaches insanity is very effective. A couple performances are overplayed just a touch but for the most part, it's a funny little experiment. I just wish I didn't know it was a joke to begin with.
Paradise Lost: The Child Murders at Robin Hood Hills (1996)
Probably the most intense and deeply drawn documentary I can remember seeing in a long time though one could argue it goes a little too far in actual crime photoes. After peeling back layer after layer of the case of the West Memphis three, it's tough to dispute that the filmmakers left any detail unexplored. Probably the best document of an ongoing court case to be found. Ho, there's a sequel?
Paradise Lost 2: Revelations (2000)
Tough to imagine that there's any more story to tell after the 150 minute Paradise Lost, but the updates here are remarkably compelling; in fact, this is the more interesting documentary of the two giving a fresh look at unexamined angles of the case and the accused. However the real centerpiece is Marc Byers who proves to be the most elusive and loathsome character in this real-life tragedy. I've read rumours that there might be a further follow-up to come...
Fay Grim (2007)
What a curious film. I haven't seen the original upon which it's based so picking up on this sequel was a little like joining a book at chapter 5. Still, even if I couldn't always follow what was happening, the trip was always fun and funny. Well-grounded by Parker Posey and a cast of eccentrics, the movie has a great balance of style and oddball humour.
Volver (2006)
Wow, talk about a movie with a wicked backspin. For the first 2/3, it's an enjoyable and finely layered little family drama but then the last act...well, it packs some remarkable pay-off. Bonus: I actually really liked Penelope Cruz in this film - something I've never been able to say before. I still think she's an odd choice for a sex symbol but in the right role, I can see her charm and vibrancy.
Mr. Brooks (2007)I'm as shocked as you are to write this but the best thing about Mr. Brooks is...William Hurt? When the movie is about the playful relationship between Costner and his alter-ego (Hurt), it's a really interesting film to watch; however weighing down the good parts, there's just too much junk. If Mr. Brooks had remained a lean psychological thriller, I imagine it might have been quite excellent but the sub-plots are so distracting (Demi Moore? Brooks' daughter?) that it feels like a movie with too many options and not enough decisions. Costner is excellent, which is worth remarking right there, but man...who keeps hiring Demi Moore for acting jobs? The final product is a bit of a mess and sadly, I lost interest at the 60 minute mark.
The Cat in the Hat (2003)
Ugh. I can't believe I showed this to my child...I feel terrible. I might as well be one of those parents who smokes with their kids in the car, windows rolled up.
Across the Universe (2007)
Not a bad movie by any stretch, just maddeningly inconsistent. When it works, it works spectacularly well (Something, Across the Universe, All You Need Is Love), but when it mis-fires (I Am the Walrus), which is often, it feels a bit like a party where no one else is dancing. God love Julie Taymor for taking some astonishing risks and creating a movie that demands attention, but there'd be more to recommend it if the musical sequences were supported with some interesting characters or an attempt at a meaningful story. Truth is after you get past the Beatles conceit, there's really nothing else there - no plot, no through line, nothing. Nevertheless, anyone who is serious about movies, music or the Beatles in particular needs to take the 2+ hours and soak up the experience. Movies like this are always worth your sweet time, even when they don't 100% work.
Little Dieter Needs to Fly (1997)
Now this is what it looks like when every piece in a documentary works in perfect clockwork: a compelling narrative, a fascinating and exceptional narrator and Herzog working his magic behind the camera to let the story unfold in a way that is unique, surprising and geniunely remarkable. I haven't seen Rescue Dawn yet but would be overwhelmed it was half the movie that this is - a truly marvelous masterpiece. I'm on the floor...
Night Moves (1975)
I will never ever EVER again doubt the compulsive watchability of Gene Hackman's 70's stache. A good example of the sort of low-key, character-driven filmmaking that thrived in the mid-70's and would never see the light of multiplex today. Groovy stuff. And the fact that this kind of moustachey goodness is forever available on DVD (and many other classics just like it) almost makes up for the fact that no one in California is turning out these kinds of movies today.
Hard Candy (2006)As a new member of the Ellen Page fan base, I thought it might be fun to track down something that I'd passed over the first time round; this was a movie that initially turned me off by subject matter alone. Turns out that it's a dark and twisted and totally watchable piece of business, powered by Ellen Page's unpredictable performance and some edgy character-driven drama. Patrick Wilson is excellent in a completely thankless role and the movie does right by keeping its cards close to the chest as long as possible. Love how lean it is - almost a two-person stage play.
Beowulf & Grendel (2005)
Pretty much the direct antithesis of 300, done on the (seemingly) cheap and with spectacular Icelandic location shooting and realistic earthy performances. Plus bonus points for more Sarah Polley goodness.
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