The Sum of All Fears (#24)

This is NOT a good Jack Ryan movie but, to be fair, it is not Ben Affleck’s fault. The characters are sound enough - and Ciarán Hinds is absolutely lovely as the Russian president - but the plot is simply absurd. The script isn’t helped by irritating and poorly placed one-liners, though thankfully none pass poor Jack’s lips. It’s simply overblown and poorly directed, but still enjoyable - which is actually impressive when you think about it. Not the Tom Clancy adaptation I’d recommend, but I didn’t want to pull out my eyeballs, so it’s still something of a success.

Sky Captain and the World of Tomorrow (#23)

Oddly, this has been in my life queue for YEARS. I went through a stylized action kick in my youth (ah, life before film school) and somehow the trailer for this one has been stuck in my mind, even though I knew it would be atrocious. So finally, on a slow day at work, I pulled it up on Netflix and was decidedly intrigued. Is it good? Not particularly, but that is more Gwyneth Paltrow’s fault than anything else. The dialogue is pulpy and characters flat, but mostly purposefully so, and the vision of an art deco future is lovely. Not worth a watch, but the concept art and some stills of devilish Jude Law are always worth while. ;)

Far from the Madding Crowd (#22)

I’ve never read Thomas Hardy’s book, so it was a thrilling and unique experience going in to a period drama adaptation having no clue what was about to happen. Carey Mulligan, who I often dislike, is very good as the independent Bathsheba, softening what I assume can often be shown as an abrasive and harsh female protagonist. Though this isn’t my favorite Thomas Vinterberg film, he does a very good job of pulling emotion from unexpected places and capturing the outdoor aesthetics and lighting of the English countryside. Matthias Schoenaerts is amazing and steals EVERY DAMN SCENE with his pure smoldering hunk-ness …his acting is also quite good. I felt Tom Sturridge and Michael Sheen were both miscast. The former is too smarmy and thin, the latter too soft (though quite good). The strength of the film is the way it avoids sliding into soapy melodrama, and for that reason I cannot wait to watch again.

l-o-t-r:

“Viggo really likes the ears; he would always stroke them. He thought the fans were going to have some elven ear obsession, so he had to throw a little stroke of the ear in to every shot he could.”

Liv Tyler on Viggo Mortensen’s ear obsession

Marriage Italian Style (Matrimonio all’italiana) (#21)

Sophia Loren and Marcello Mastrioanni’s comedic shenanigans in Yesterday, Today and Tomorrow had me stitches, and their hilarity is similarly at play here, though with a bit more drama mixed in. It’s a continuously engaging - if somewhat dragging toward the third act - romantic farce and the chemistry of the leads is undeniable. With Vittorio De Sica at the helm and a swinging 1960s Italian background, it’s impossible for there to be anything except screen magic.

Once Upon a Time in the West (#20)(#233)

Christ Almighty, is there anything so amazing as a Sergio Leone spaghetti western? The answer is absolutely not. The Good, the Bad and the Ugly will forever stand at a level above other films for me (it was the topic of the essay that got me in to film school back in the day) and while Once Upon a Time failed to achieve a similar level for me, the sheer scope and quality keeps it a phenomenal must see. Tonino Delli Colli’s photography is PHENOMENAL. Absolutely, startlingly, perfectly exquisite. The lighting is without peer, and the art direction astounding. As always, Sergio maintains a perfect level of control across all creative levels, with Ennio Morricone’s themes (!!!!) elevating characters and tone to immense heights. I loved Charles Bronson and Henry Ford but it’s the costumes that stole each and every scene. Even if I wasn’t enamored by the dialogue and lost the story thread at points, the visual quality is so supreme I have no complaints.

nuvango:

‘The Great Escape’ by Sammy Slabbinck | sammyslabbinck

The Great Escape (#19)(#232)

Even with a nearly three hour run time, this movie is an absolute joy and must see. I can’t believe it didn’t receive more awards. John Sturges’ direction is fabulous, as is the script by James Clavell and W.R. Burnett, which does a fantastic job of allowing us to track such an expansive cast. The tension is great, causing me to gasp and gnaw on my fingers as I wondered if they would actually be successful. Though James Garner and James Coburn are merely passable, Steve McQueen is rather good (if only for the fantastic motorcycle stunts at the end and those steely blue eyes) and Richard Attenborough is expectedly solid. Charles Bronson and John Leyton stole every scene they were in, from my perspective, and when the whole group works in harmony they drive an entirely male film (there are zero women in speaking roles or as non-extras) to an extraordinary level. Feminist criticism aside, this is an incredibly good film and I highly recommend it.

Grave of the Fireflies (#18)(#231)

This is an incredibly important film for one of my friends, so I was honored when he invited me over for a screening. We watched with subtitles rather than English dubbing and it was definitely the right choice. It’s a really strong early Studio Ghibli. The animation is painterly and the story somewhat impressionistic, reminding me of the Italian Neorealist movement and very much the “slice of life” cinematic descriptor. It’s quite sad, but didn’t make me weep in the way other films have, but that could have just been the big hyping. My friend mentioned that it’s more powerful the second time you watch because you understand the circuity of the plot, which I think would definitely be true. I’m glad I saw it, but I’m still a greater sucker for the fairytale Ghibli productions.

Pitch Perfect 2 (#17)

I’m going to be straight up with you: I saw this movie quite sloshed after a morning of bottomless mimosas. So some of the details may be hazy. What I think I can tell you, though, is that this movie is enjoyable. It’ avoids the major pitfalls one frequently sees in sequels: we don’t get over saturated by niche characters, there are a restrained number of callbacks to past jokes, and favorite jokes from the first installment are not abused. At the same time, I kind of missed those things. It’s fun seeing ladies sing, but there is little conflict or actual plot. Bringing in Hailee Steinfeld as the newbie is fine, but I wanted to hang with my old friends, not these bland new chick. Elizabeth Banks does a good job directing, but there needed to be more conflict and fun. It’s not the magic of the first by any means, but no embarrassment. And I always support girl power!

How Stella Got Her Groove Back (#16)

There’s a difference between iconic and classic (the latter implying quality) and How Stella Got Her Groove Back exemplifies the difference perfectly. Though the age difference is unique amidst the normal romance space, Stella is a quite mundane, uncompelling movie. What happened to Stella’s groove in the first place? Where did it go? Does she actually get it back in the end? It’s unclear. Taye Diggs’ accent is atrocious and Angela Bassett’s character is shockingly unclear. The only bright spot comes from Whoopi Goldberg, whose riffs are spectacular and award deserving. Wretched direction from Kevin Rodney Sullivan.

Three Kings (#15)(#231)

Though it semi-frequently pops up on master heist film lists, I’ve unconsciously avoided Three Kings for years. A dark-comedy set in the Gulf War with a theft element seemed likes a tall order that couldn’t be filled. And yet, when I finally watched this yesterday afternoon, I was completely enthralled to the point where I had to hide my moist eyes from coworkers wandering past my desks. Mark Wahlberg and Spike Jonze are great in particular, while George Clooney’s supporting turn is spot on. Really great writing and direction from David O. Russell creates a fantastically poignant and heart grabbing story that I will be watching again very soon.

Ex Machina (#14)

I’ve been looking forward to this for months, ever since I started tracking Alex Garland and saw that two of my favorite up and coming actors, Domhnall Gleeson and Alicia Vikander, along with Oscar Isaac were starring. A24 does a spectacular job marketing the films they distribute so I was hyped going in. I love cerebral sci fi and I had hopes that were buoyed by the excellent word of mouth I’ve been hearing. Sadly, i was disappointed. Though the performances and photography are exceptional, the story left me feeling unfulfilled. (POTENTAIL SPOILERS AHEAD) I wanted all the fantastic small questions answered: why does Nathan drink? What does he hope to accomplish in specifics? Why unique things does Caleb bring? What does Caleb hope to have happen if he frees Ava? What does Ava want to do? None of these deep personal questions were answered, which made this ultimately feel more like a beautifully extended short than a really comprehensive, introspective story.