Week 52 in film

Christmas + lousy weather = cinema overdrive!

It's A Wonderful Life (Frank Capra, 1946)
Another classic I still had to watch. Christmas felt like a good time to do it. James Stewart is endearing as ever and the fantasy angle in a very sweet and sappy Christmas tale is original and more compelling than I expected. The moral is impossible to miss, but more relevant than ever. 8/10



Star Trek Into Darkness (J.J. Abrams, 2013)
Amongst all the action-scifi crap made these days Abrams proves to be a good action-director. I liked the third Mission Impossible, Super 8 and this one, which surprised me, to be honest. The balance between action and plot is a bit off at the end, but thanks to a great start very sufficient overall.  7/10

The Quick and the Dead (Sam Raimi, 1995)
Raimi honours all these Western classics with some 'comic-book-like' action and directing. The plot development is not surprising or original but I couldn't help enjoying it for its full length. 7.5/10

Tabu (Miguel Gomes, 2012)
One of the most original films of the year comes from Portugal. The history of an old Portugese lady is told by her ex-lover whom she met when living in Africa. Beautiful black and white photography, poetic undertones and a relaxing pace. 8/10

Juliet and the Spirits (Federico Fellini, 1965)
Giulietta Masina seems to be playing herself in this visual treat from Fellini. Keep in mind: Fellini loved women. He was dreaming the biggest boobs and asses you can imagine, as visible in last years Eye-exhibition. He also loved Masina, who was always by his side. Knowing this makes this film very interesting. Giuletta her husband is cheating on her and she struggles with the thought of sexual freedom haunted by memories and (beautiful) visions. A very personal film by the Italian master. Did he 'borrow' the shot shown below from that other Italian master? 8/10



Lawrence of Arabia (David Lean, 1962)
A hiatus in my film knowledge (there are a number of them...): the sword-and-sandal-genre. I decided to dedicate 4 hours to what is supposedly the best film in this category. Reminded me why I am not a fan. After two hours of sand and camels I felt bored. Of course the cinematography is stellar, and the ending makes up for a lot, but still, not a masterpiece if you ask me. 7.5/10

Paradies: Hoffnung (Ulrich Seidl, 2013)
Third and last film in the Paradies-trilogy. The worst. A group of teenage girls at fat camp are more boring than Seidl may have considered. Stays on the surface pretty much the whole film, there are a lot of possible angles here, the doctor-girl relationship is not the best one. 4.5/10

Stagecoach (John Ford, 1939)
A very young John Wayne in a film that is more classic than good. The chase with the Indians is great, some of the characters are funny but the whole love-interest-angle didn't work for me at all. 6.5/10

Miracle on 34th Street (George Seaton, 1947)
Week of the (Christmas) classics. This one is just as endearing as It's A Wonderful Life. Due to a simpler plot and mediocre acting not in the same league, though. 6.5/10

Week 51 in film

Inside Llewyn Davis (Coen Brothers, 2013)
I didn't really like A Serious Man, by some considered as the best Coen-film. This film has many similarities. It is about a guy who doesn't have luck on his side, but can somehow blame himself by being an ass at times. He is a charismatic guy, a good musician, but he can't really control what happens to him and if luck is on his side faith manages to interfere. Coen territory for sure. The scenes with John Goodman, who gained a lot of weight again, are gold and extremely funny. It is a highlight in a film that is mostly a bit of a drag if you ask me. There is a lot to discover (the cat...) but some of it is not that interesting or urgent, like in A Serious Man. I like this one a bit better. 7/10



Mouchette (Robert Bresson, 1967)
I liked L'Argent and Pickpocket from Bresson. His minimalistic acting and showing events worked in those films and make him a unique filmmaker in the good sense. In this film, about a girl who has a horrible life, to say the least, it didn't work for me. Somewhat dull I am afraid, a state I also experienced when I was watching Au hasard Balthazar.  6/10

Runner Runner (Brad Furman, 2013)
Contender for worst film of the year. Totally ridiculous story, horrible acting (Ben Affleck...).  2/10

Last Vegas (John Turteltaub, 2013)
The Hangover for over 60? Yes, a bit. A group of four childhood friends in their sixties are going to Vegas because one of them (Douglas) is getting married. Of course there are some unresolved issues between the guys, and of course they win a lot of money, and of course they end up partying in Vegas. Actually quite funny at times and the cast makes it worthwhile. The lazy script and cheesy ending doesn't. 5/10



The World's End (Edgar Wright, 2013)
Not as funny as Hot Fuzz or Shaun of the Dead. Basically the same setup. Instead of zombies we now have aliens...sort of. Some of the action scenes are directed very well and I liked the social criticism. Not too good, not too bad. 6/10

The Blues Brothers (John Landis, 1980)
Never seen this classic before. Not much of a plot really, a lot of good music and A-team-like car chases, which are done pretty well. Has a nostalghic 80's vibe on which I can't really lay a finger. It does help me appreciate this film. 6.5/10

Week 50 in film

Total Recall (Paul Verhoeven, 1990)
My favorite Schwarzenegger ('Relax, you'll live longer'), probably my second or third favorite Verhoeven, who I think has made a handful of really great films. Like most of his films this one is highly entertaining and provides a lot of fun, humor and Cronenbergian body-horror. In this particular film he also shows how to balance action, plot and snappy one-liners. Something easily forgotten nowadays in films in the same genre, I am not even mentioning the terrible remake of this film. Seen it three times now, could easily watch it again, always a lot of fun, great example of how to make a good action-scifi flick. 8.5/10



Berberian Sound Studio (Peter Strickland, 2012)
Toby Jones as a stiff mommiesboy Englishman in a sound studio with Italians producing a giallo. Yes, the sound editing of this film is great, the editing itself as well. There is one problem however, this film lacks suspense. To me it wasn't clear why I should feel suspense, let alone that the individual scenes were directed well. Descend into madness is a craft to film not everyone masters, as it turns out.  4.5/10

A perdre la raison (Joachim Lafosse, 2012)
A mediocre, dark and somewhat pointless film about depression in a marriage. Not a common marriage. The husband still lives with the man, a docter, who raised him. Even when the family has four children they still live with the doctor, who made the family financially dependent of him. Not very plausible if you ask me. 5/10

Honeymoon in Vegas (Andrew Bergman, 1992)
Only one reason to watch this: a raging Cage. He is hilarious at times. The rest of this film, a comedy version of Indecent Proposal, isn't. 4/10



A Late Quartet (Yaron Zilberman, 2012)
Typical arthousepic. Four musicians have a very established quartet. When the eldest (Christopher Walken) is diagnosed with Parkinsons all the relations in the quartet are under pressure. Not a bad film, not very good, read very memorable. The acting performances are solid, Walken is somewhat touching. Not much more to say.  7/10

Les Salauds (Claire Denis, 2013)
Another dark, french film this week. Claire Denis her films are almost always interesting, not always that good. This one can be seen as a stylish 8MM (remember, with Nicolas Cage). I am sure Denis didn't have this crappy film in mind. Not sure what she wants with this. It is not as tense or styleful as some of her better films. I have to admit I got bored towards the end. And why didn't we see more of the beautiful and very talented Lola Creton? 6.5/10

Week 49 in film

El secreto de sus ojos (Juan Jose Campanella, 2009)
The film that kept Das Weisse Band from winning an Academy Award. I can't see why. It is original in the sense that it plays with the conventions of the crime-genre. Halfway this suspenseful film about a brutal rape and murder from the past it turns into a love story that didn't convince me really. Maybe I was hoping for a puzzle/detectivefilm too much. Somewhat original, but lacks the depth the ending requires.  7/10



The Wire - Season 5
Unfortunately, it ends. For a while I was afraid it wouldn't end in style but all in all I think it does. The last season chooses another interesting angle with the newspaper editorial department. This season has more politics, McNulty and a bit less gangster-shit. It tends to become improbable at some point, and the writers may have chosen some developments as a metaphor. It does make a strong point (I won't spoil...). Yes, best series I've seen so far. Well worth the investment of 50 to 60 hours of my life. If I haven't made it clear already, comes highly recommended!  9.5/10

Rising Sun (Philip Kaufman, 1993)
As stated before I am really into the early nineties Hollywood films. This one with Wesley Snipes and Sean Connery is a perfect example of the many many films that have been produced in this era. A mystery, ridiculous plot but great characters in this case portrayed by the great Sean Connery. Not very good, but so enjoyable and almost melancholic. 5/10

Drop Zone (John Badham, 1994)
Second film this week with Wesley Snipes. Again, not a very qualitative film but oh so much fun. A lot of skydiving, Hans Zimmer soundtrack and Gary Busey. Guarantee for 1,5 hours of entertainment. The plot is absolutely not important.  6.5/10

Week 48 in film

Elysium (Neill Blomkamp, 2013)
Example of why and how science fiction can be utterly boring. Just because there is a new planet with some extremely improbable technology doesn't mean it is original. Blomkamp didn't impress me that much with District 9 and even fails to entertain with this one. Before the shaky action starts it is bearable but when Damon becomes a radioactive RoboCop with a love-interest we've seen 988223 times in other films (just like the flashbacks, the bad guy etc.) this film falls apart. Can be added to the long list of bad writing disguised as original scifi.  4/10



Like Father, Like Son (Hirokazu Koreeda, 2013)
How important is your upbringing and the love of parents? Koreeda manages to answer this question in his natural and realistic way. Two totally different families meet when the hospital finds out that their sons were switched after they were born. The families are asked to make a tough decision about their sons and for the somewhat workaholic father of one, this confronts him with his own youth and how it is translated into bringing up his only son. Typical Koreeda territory. Not his best is still pretty good.  7.5/10

Secretary (Steven Shainberg, 2002)
Considered classic by some. It has some 'Cronenberg-like' quality in its main theme. Of course, James Spader helps a lot in this. Couldn't help thinking about Cronenberg's Crash. Unfortunately this isn't a Cronenberg, the psychological element is only interesting for the first half hour, the remainder feels repetitive. 5/10

The Specialist (Luis Llosa, 1994)
Guilty pleasure from the nineties. Watched it often as a kid, and still I find it enjoyable at times. Has James Woods, Eric Roberts, Stallone and Sharon Stone must be one of the hottest women ever in film history. What I didn't remember well was that this is not a very good film. Nevertheless, I prefer it over the action films that are made nowadays. Too much 'cheap' action, special effects and 3D abuse. In the nineties at least there were character actors armed with snappy dialogue.  5.5/10

Week 47 in film

Far from Heaven (Todd Haynes, 2002)
Imitation of Sirk. Not a bad one at all. Has the melodrama and settings of the fifties, but the use of color and overall visual style is impressive and perhaps how Sirk would have made it if he could. As so often, Julianne Moore is stellar. The themes are interesting but not very original or never done before, even though I am not sure if Sirk would have dared to adress them in the fifties. Downside: can a black gardener be more stereotypical and one-dimensionally good?  7.5/10



Children of Heaven (Majid Majidi, 1997)
Cinema from Iran can break your heart sometimes. This story is so powerful in its simplicity. A boy loses his sisters shoes and since their family is poor they decide to secretly share a pair of sneakers. A trivial problem in most western countries but the end of the world for our young protagonist. It strongly displays how matters of life and death can elevate your achievements. This film manages to let us understand each motivation of its key players. Nuanced and honest film making as we've seen before from this country.  8/10

Amos & Andrew (E. Max Frye, 1993)
Well, here is another film with Nic Cage that is somewhat ridiculous. Its story, filled with dumb police officers and bystanders can only be saved by being over the top and funny. Unfortunately this film doesn't feel self aware enough and most of the stuff that was probably supposed to be funny isn't. Has its moments, mostly with Cage, but disappoints for a film from the early nineties.  5/10

Week 46 in film

Rio Bravo (Howard Hawks, 1959)
Ranks really high in some of the notorious lists on the internet (they shoot pictures). I can see why but at the same time some elements here are not that good, some are even bad. The love interest of John Wayne isn't a brilliant actress and there is hardly any chemistry between them. The plot is as thick as an episode of the A-team but boy is it fun. Not a masterpiece but way too entertaining and funny too miss. 7.5/10



Mallrats (Kevin Smith, 1995)
Saw this film years ago, so its always a good indication of how my taste may have changed. To be honest, it didn't change much for as far as this movie goes. Funnier than most films, but definitely not the best or funniest film from Kevin Smith, who I still consider to be one of the funniest guys in Hollywood.  6.5/10

Fail-Safe (Sidney Lumet, 1964)
"These are Marxist fanatics, not normal people. They do not reason the way you reason, General Black. They're not motivated by human emotions such as rage and pity. They are calculating machines. They will look at the balance sheet, and they will see they cannot win."  7.5/10

This Must Be the Place (Paolo Sorrentino, 2011)
Sean Penn as a retired lethargic rockstar (inspired by Robert Smith and Ozzy Osbourne, I believe) who wants to track down the nazi who humiliated his father in WW II. Sorrentino manages to incorporate some of his trademarks making this a very poetic and humanistically interesting film. Sean Penn is great and I am surprised this film didn't get more attention because it deserves it. 8/10

Zabriskie Point (Michelangelo Antonioni, 1970)
One of Antonioni's American films. This one clearly against the consumer society. I like Antonioni. I like his cinematography but this film is not his best in this respect. Has a couple of great scenes (the love-making in the desert, the explosions) but not my favorite by the director. 7/10



The Counselor (Ridley Scott, 2013)
Scott reaches a low in his respectable oeuvre with this film. Despite an impressive cast, the script is crappy and Scott never manages to elevate this. Forgettable, tedious dialogue and lacks focus. 4/10

Time Bandits (Terry Gilliam, 1981)
Welcome to the ever wonderful and original world of Terry Gilliam. Through the eyes of a child we travel through history with a team of dwarfs called 'Time Bandits'. I would have loved this film as a child, as an adult it's still amusing. 7/10

Predator (John McTiernan, 1987)
One of the action classics that slipped my mind when I was consuming a lot from the genre. I can see why this is considered a classic. Schwarzenegger shows his 'Commando' skills in the first half hour. When the Predator comes into play the film actually feels quite serious. This works for a bit but the ending lacks suspense. Proves that not showing the danger works much better than showing it, especially when it looks a bit ridiculous. 6.5/10

Sombre (Phillipe Grandrieux, 1998)
Ok, I believe Grandrieux is talented. Inspired by film makers like Lynch he manages to enter the darkest corners of humanity and portray them in very original manner. The beginning feels promising, the middle does and then....nothing. Keeps repeating itself instead of going in depth of the why and motivations of the twisted protagonist. Boring.  3.5/10

Week 45 in film

Celeste & Jesse Forever (Lee Toland Krieger, 2012)
Jesse and Celeste were best friends since high school. Have been married, now divorced and still good friends who hang out together. When Jesse starts dating other girls things seem to work out less and Celeste is trying to do the same. This synopsis cries for a predictable and cliche ending but Krieger manages to make it a bit more realistic and emotional. Reminded me of 500 Days of Summer at times, with the difference that this films focuses on the female, which is ok, since I am not a big fan of Andy Samberg. 7/10

Nights and Weekends (Joe Swanberg, 2008)
Mumblecore. Low budget production played and directed by Swanberg and the lovely Greta Gerwig. Their relationship feels natural and believable, so do their conflicts and issues. Unfortunately these events are not interesting enough to make up for some of the extremely tedious and stretched scenes. Portraying boredom shouldn't bore your audience.  3.5/10

The Dukes of Hazzard (Jay Chandrasekhar, 2005)
As I recall the series was childish but pretty amusing. This film is horrible, not even slightly like the series. Jessica Simpson might be the worst actress ever. 2/10

La grande bellezza (Paolo Sorrentino, 2013)
A modern take on Fellini's La Dolce Vita. Especially the first hour is fantastic. Combines some Malick-like imagery with Spring Breakers avant la lettre. The second part is suffering a little bit from the lack of structure, the ending hit the right spot for me and makes up for the little flaws. One of the best films of the year.  8.5/10

Week 44 in film

The Silence (Ingmar Bergman, 1963)
Bergman and female leads, sometimes a brilliant combination. This film has all the ingredients but somehow it doesn't work as well as for instance in his Persona, 3 years later. Tystnaden is at times too slow, it is however beautiful and the mystery between two sisters and one of their sons tickles the mind at times but it is not as convincing as some later films from the Swedish master. Feels like a warm up exercise for what I consider to be one of the best films ever. 7/10



The Lady Vanishes (Alfred Hitchcock, 1938)
Best known British film from the master of suspense. It takes a while before the mystery unravels but when we arrive at this point the suspense is as Hitch would make it his standard. Some of the story elements are a bit of a stretch and the shoot out scene is, as funny as it is, ridiculous which reduces the urgency of the plot. I did very much enjoy this film though. 7.5/10

Le rayon vert (Eric Rohmer, 1986)
Talk, talk in french. Somewhat lonely and clearly unhappy Parisian is left by her fiancee 2 weeks before their planned vacation. She plans to have a vacation anyway but is having a really hard time enjoying herself. Rohmer effectively portrays the bores and void of everyday life. The unhappy mood felt somewhat transferable and I am not sure if I find this a quality. All in all I expected more. I can see what the director wanted to do here and for most it might work but I felt bored too often.  6.5/10

Sweet Smell of Success (Alexander Mackendrick, 1957)
One of the last big titles in film noir. If I wouldn't know any better I would say this film was based on a play. As good as it is there is a relatively large amount of lively dialogue. Much of the action is left out and inferred events are therefore now shown. What remains are great performances by the two evil leads (Lancaster and Curtis). A good film and solid criticism towards show business but not in the same league as some great noirs from this era, if you ask me. 7.5/10

Moonrise (Frank Borzage, 1948)
Best film I saw this week. Borzage already surprised me with his Man's Castle (1933) and his great style can be seen here again. Emotionally layered and nuanced film which also managed to incorporate some beautiful cinematography. I will surely watch more from Borzage in the future.  8/10

Week 43 in film

La vie d'Adèle (Abdellatif Kechiche, 2013)
This years Palme d'Or winner tells a very powerful and universal love story. There was quite a fuzz in Cannes about the controversial lesbian sex scenes. Compliment to the director, he made this a film that is about a relationship, not specifically a same sex one. Where he could easily have chosen a different (perhaps more moralistic) path he managed to make a film that takes for granted that the two lovers are both female. The acting performances are stellar and by strictly focusing in depth on the portrayed relationship Kechiche proves to be a very skillful filmmaker. I was fascinated for almost three hours. The only negative point I can think of are some of the ridiculous seafood metaphors in regard to Adele's new found sex experiences. Nevertheless, impressive. 8.5/10



The Wire - Season 4
After the first season I was completely hooked by what might be the best series ever made. Unlike the first season, I try to spread out the episodes, having some time left for film. Towards the end of the 4th season I couldn't resist and had to invest a couple of hours to finish. This is the best season so far (one more to go). It is more ruthless and compelling than before and the investments made as a viewer in the previous seasons are paying off. So many characters, so many motivations and backgrounds. All of them can be felt and understood with ease. What an achievement in writing this is. I'll try to enter season 5 slowly, even though I am curious I don't want this to end. 10/10

I fidanzati (Ermanno Olmi, 1963)
Stylish love story that shows how love over a long distance can be so much stronger than up close. It takes a while before this film makes its powerful point. A bit too long which made me lose interest in the middle somewhere. Not a bad film at all, but there are so many better ones in what may be the best European film era ever. 7/10

The Company (Robert Altman, 2003)
Altman's 2nd last film is as Altman as it can be. This is what a Busby Berkeley film would have looked like if he directed one. No clear narrative, as so often,  but a good impression of the world behind some beautifully portayed ballet. The highlight of the film is a ballet scene which I find pretty breathtaking, of course Julee Cruise (yes, Twin Peaks) helps a great deal. Just see for yourself. 7.5/10

Week 42 in film

Dans la maison (Francois Ozon, 2012)
French teacher recognizes the writing talent he never was in one of his students and his new found protege (and his story) is slowly getting into his head. For the first half this film was heading for a big score, but at some point it loses its strength a bit by making the story (too) complex. Do have to give the film maker credit though, this film is suspenseful and has more depth (social commentary etc) than meets the eye at first. 7.5/10



Prenom Carmen (Jean-Luc Godard, 1983)
Godard is a big name for a reason, he made some excellent films in the 60's. This later film in his oeuvre however is an artsy-fartsy piece of crap. We see two lovers (they meet at a bank robbery...) and later as a metaphor for their states we see two ships crossing or two passing trains driving apart. Come on...I honestly wonder if Godard had a plan or meaning with this film. It won some prices, so perhaps I am totally missing the point.  2.5/10

Kids (Larry Clark, 1995)
Was this shocking in '95? The film, treating the issue of HIV to some extent, feels a bit outdated although some of the scenes are still very effective. I would say half of the movie impressed me, the other half is a bit boring but adds to the atmosphere which feels very pessimistic and dark. Highlight is the performance by Chloe Sevigny. One of the writers, Harmony Korine, made a much better and more styleful take on youth this year.  6.5/10

Together (Lukas Moodysson, 2000)
Cute little 'hippie' film from the director of Fucking Amal and Lilja-4-ever, both very good films. This film disappointed me a bit, the story about a 70's community has a heart and some moving parts but Moodysson incorporates too many characters to make it a truly insightful film. 6/10

The best 100 films according to myself

The dutch website What I Watch asked for the yearly list of favorite films ever. Since I love to make lists I took the time to adjust my list from the previous year resulting in a few newcomers and shifts. Great, this means there have been enough quality movies for me in the last year. I wonder how next years list will be changed, lets hope for some more pearls. A snapshot.

01 Mulholland Dr. (David Lynch, 2001)
02 2001: A Space Odyssey (Stanley Kubrick, 1968]
03 Zerkalo [The Mirror] (Andrei Tarkovsky, 1975)
04 Persona (Ingmar Bergman, 1966)
05 Rear Window (Alfred Hitchcock, 1954)
06 There Will Be Blood (Paul Thomas Anderson, 2007)
07 Paris, Texas (Wim Wenders, 1984)
08 The Tree of Life (Terrence Malick, 2011)
09 L’année dernière a Marienbad [Last Year in Marienbad] (Alain Resnais, 1961)
10 Yi Yi [A One and a Two] (Edward Yang, 2000)



11 Before Sunset (Richard Linklater, 2004)
12 Sunset Blvd. (Billy Wilder, 1950)
13 Magnolia (Paul Thomas Anderson, 1999)
14 Apocalypse Now (Francis Ford Coppola, 1979)
15 Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)
16 Stalker (Andrei Tarkovsky, 1979)
17 Le notti di Cabiria (Federico Fellini, 1957)
18 Vertigo (Alfred Hitchcock, 1958]
19 Chinatown (Roman Polanski, 1974)
20 Taxi Driver (Martin Scorsese, 1976)

21 Le trou (Jacques Becker, 1960)
22 Se7en (David Fincher, 1995)
23 Efter brylluppet [After the Wedding] (Susanne Bier, 2006)
24 Notorious (Alfred Hitchcock, 1946)
25 Inland Empire (David Lynch, 2006)
26 Eyes Wide Shut (Stanley Kubrick, 1999)
27 The Lady from Shanghai (Orson Welles, 1947)
28 3 Women (Robert Altman, 1977)
29 Seppuku (Masaki Kobayashi, 1962)
30 Trouble in Paradise (Ernst Lubitsch, 1932)



31 Blade Runner (Ridley Scott, 1982)
32 Manhattan (Woody Allen, 1979)
33 The King of Comedy (Martin Scorsese, 1983)
34 Ace in the Hole (Billy Wilder, 1951)
35 Idi I Smotri [Come and See] (Elem Klimov, 1985)
36 Lost in Translation (Sofia Coppola, 2003)
37 Psycho (Alfred Hitchcock, 1960)
38 Donnie Darko (Richard Kelly, 2001)
39 Touch of Evil (Orson Welles, 1958]
40 Rosemary’s Baby (Roman Polanski, 1968]

41 Il buono, il brutto,  il cattivo [The Good, the Bad and the Ugly] (Sergio Leone, 1966)
42 Anatomy of a Murder (Otto Preminger, 1959)
43 Schichinin no samurai [Seven Samurai] (Akira Kurosawa, 1954)
44 Blue Velvet (David Lynch, 1986)
45 Amadeus (Milos Forman, 1984)
46 M (Fritz Lang, 1931)
47 Viridiana (Luis Bunuel, 1961)
48 Out of the Past (Jacques Tourneur, 1947)
49 Barry Lyndon (Stanley Kubrick, 1975)
50 To Be or Not To Be (Ernst Lubitsch, 1942)



51 Imitation of Life (Douglas Sirk, 1959)
52 Umberto D. (Vittorio de Sica, 1952)
53 Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
54 Basic Instinct (Paul Verhoeven, 1992)
55 L’armée des ombres [Army of Shadows] (Jean Pierre Melville, 1969)
56 The Big Lebowski (Joel and Ethan Coen, 1998]
57 Walkabout (Nicholas Roeg, 1971)
58 Angel Face (Otto Preminger, 1952)
59 Suna no Onna [Woman in the Dunes] (Hiroshi Teshigahara, 1964)
60 Silence of the Lambs (Jonathan Demme, 1991)

61 Scener ur ett äktenskap [Scenes from a Marriage] (Ingmar Bergman, 1973)
62 Jules et Jim (François Truffaut, 1962)
63 Double Indemnity (Billy Wilder, 1944)
64 Nostalghia (Andrei Tarkovsky, 1983)
65 Jodaeiyi Nader az Simin [A Separation] (Asghar Farhadi, 2011)
66 American Beauty (Sam Mendes, 2000)
67 La Dolce Vita (Federico Fellini, 1960)
68 The Wrestler (Darren Aronofsky, 2008]
69 The Long Goodbye (Robert Altman, 1973)
70 Chelovek s kino-apparatom [The Man with the Movie Camera] (Dziga Vertov, 1929)



71 Scarlet Street (Fritz Lang, 1945)
72 Dogville (Lars von Trier, 2003)
73 The Thin Red Line (Terrence Malick, 1998]
74 Two Lovers (James Gray, 2008]
75 The Red Shoes (Michael Powell and Emeric Pressburger, 1948]
76 Le mépris (Jean Luc Godard, 1963)
77 Letter from an Unknown Woman (Max Ophüls, 1948]
78 12 Angry Men (Sidney Lumet, 1957)
79 Zodiac (David Fincher, 2007)
80 Werckmeister harmóniák (Béla Tarr and Agnes Hranitzky, 2000)

81 The Scarlet Empress (Josef von Sternberg, 1934)
82 Kiss Me Deadly (Robert Aldrich, 1955)
83 Viskningar och rop [Cries and Whispers] (Ingmar Bergman, 1972)
84 Blowup (Michelangelo Antonioni, 1966)
85 White Heat (Raoul Walsh, 1949)
86 Gattaca (Andrew Niccol, 1997)
87 C’era una volta il West [Once Upon a Time in the West] (Sergio Leone, 1968]
88 Kong bu fen zi [The Terrorizers] (Edward Yang, 1986)
89 L’ Atalante (Jean Vigo, 1934)
90 Rashômon (Akira Kurosawa, 1950)



91 Naked (Mike Leigh, 1993)
92 Showgirls (Paul Verhoeven, 1995)
93 Written in the Wind (Douglas Sirk, 1956)
94 Sanshô dayû [Sansho the Bailiff] (Kenji Mizoguchi, 1954)
95 Brazil (Terry Gilliam, 1985)
96 The Virgin Suicides (Sofia Coppola, 1999)
97 American Psycho (Mary Harron, 2000)
98 Anna Karenina (Joe Wright, 2012)
99 Videodrome (David Cronenberg, 1983)
100 Jungfrukällan [The Virgin Spring] (Ingmar Bergman, 1960)

Week 41 in film

Mulholland Dr. (David Lynch, 2001)
It has been over two years since I watched my favorite film and I was really curious if it would disappoint me after all the great films I've seen in the last years. Did it disappoint? Not a second. What a masterpiece. This time it really struck me how great some of the lines are in its context. The scene in 'Club Silencio' is still my favorite and probably the best scene I can imagine. Why I love cinema! 10/10
"It's strange calling yourself."  



Sex and the City 1 & 2 (Michael Patrick King, 2008/2010)
Needed something for the balance...A lot of years ago I saw some of the series and what I remember was much much better than this. What a Hollywood superficiality this is. Both films could have been an hour shorter if they didn't have to show off all the designer clothing which probably financed these films. I was hoping for some self-criticism somewhere. Forget about it, fashion should make you happy...
Number 1: 3.5/10, number 2: 2.0/10

This Gun for Hire (Frank Tuttle, 1942)
Decent, enjoyable noir, like so many in the genre (if noir is a genre). The density of the plot (book adaptation in 80 minutes) of noirs keeps surprising me. Compare this to modern day cinema, inventive film  making. 7.5/10

World War Z (Marc Forster, 2013)
Brad Pitt goes 28 Days Later vs. Independence Day. The zombie-invade-the-earth and have a virus is not very original but directed well and Pitt's performance is, as so often, pretty decent. I didn't believe there had to be action in every scene or set where Pitt appears, the last act was by far the best, probably because the action dropped a bit and the suspense could take over.  6.5/10

Week 40 in film

Jeune & Jolie (Francois Ozon, 2013)
The synopsis tells us something about four seasons and four songs. This is not very original and should not be the selling point of the film. On the eye this is the beautiful lead girl Isabelle, but there is a bit more. The viewer gets a grip on the life and mind of a prostitute and how scary, lonely but at the same time moving it can be. Film fits in the oeuvre of the director, a solid psychological French portrait that never reaches extreme highs or lows.  7/10



Gravity (Alfonso Cuaron, 2013)
One hell of a ride! Front row seat, 3-D glasses on (not my hobby...), and after 1,5 hours I felt I was back on earth from a stunning space trip. Visually probably the best thing I've seen this year. The long opening take alone makes this film a treat you don't want to miss. I totally understand the hype and high scores for this production. The only thing that doesn't make it a five star masterpiece is the emotional core (forced but carried solidly by Bullock) and unfortunately the Clooney-character lacks the dimensions that are visually present. But this can be forgiven easily by the technical perfection. Thank you Alfonso Cuaron and Emmanuel Lubezki!  8.5/10

De boekverfilming (Eddy Terstall, 1999)
Terstall is trying to criticize the Dutch film industry by portraying a young talented director who tries to sleep with the candidates for the female lead of his next film. I couldn't find much to like in this film, unlike some other productions from the director. Tedious, lazy directing, unnecessary sex and nudity (really), overall very uninteresting characters and plot. 3.5/10

Don Jon (Joseph Gordon-Levitt, 2013)
Definitely not the worst example of the actor gone director. Gordon-Levitt directs himself with confidence as a porn-addicted macho man. He makes quite a convincing case when he prefers his porn over a super hot Scarlett Johansson (go figure!). In the end he gets a bit too confident, the third act demands so many improbabilities that I didn't buy it for a second. I do believe this guy has potential, though.  5.5/10

Week 39 in film

Nostalghia (Andrei Tarkovsky, 1983)
Tarkovsky fascinates me. I like all of his films (some are all-time favorites) and I like re-watching his films. Nostalghia is perhaps his slowest and most challenging film. A second viewing made me appreciate this film more than the first time and I can imagine this film can grow on me. Situated in Bologna, Italy we follow a poet who has beautiful nostalgic visions and is fascinated by a guy who allegedly locked up his family for seven years. Tarkovsky was banished from Russia when this was filmed and this film is clearly autobiographical. Lots of depth, symbolism (the candle scene) and filled with visual hints. I might take notes and screenshots during a third viewing, that's the kind of film this is and how it fascinates me. For now:  9/10


Sweet and Lowdown (Woody Allen, 1999)
A documentary style film about the fictional jazz guitarist Emmett Ray (the second best guitar player in the world after Django Rheinhardt). Allen creates a believable world and Sean Penn portrays a character of which I would believe he really existed. These notions are not enough to make this a good film, the story is very Allen-like, focuses on Ray's love life, something that has been executed by the director much better many times. The fact that he is a great guitarist doesn't add much except for a good soundtrack. Dull-ish. 5/10

California Split (Robert Altman, 1974)
Robert Altman en Elliot Gould in the seventies, a wonder formula. This time Gould is a gambler who together with his friend slowly becomes more and more addicted. Portrayal of an addiction Altman style, a lot of noise, odd side-characters, no clear plotlines. I would say messy if it wasn't so interesting and well acted. I believe Altman knew exactly what he was doing. Not his best from this era, but with such a high standard this is still a good film. 7.5/10

The Man Who Fell to Earth (Nicolas Roeg, 1976)
David Bowie as an alien, perfect cast I would say and it works. Unfortunately this film lacks something which you might call a 'plot drive', not uncommon in some of the cinema of the seventies if you ask me. It made me experience this film as messy and unfocused. Just the peculiar Bowie and some good looking imagery is not enough to keep you up for almost two and a half hours.  4/10


Onder Ons (Marco van Geffen, 2011)
Dark dutch film about a Polish au pair and the circumstances in her environment. I like the narrative choice, a choice which asks for a creative twist or surprise. I won't spoil, but this notion has something to do why this movie doesn't convince me fully. 6.5/10

42nd Street (Lloyd Bacon, 1933)
The great Busby Berkeley. I am not a fan of musicals, but this is simply a lot of fun. The plot is like so many and most viewers will be waiting for the eye candy in the final act, which delivers. Not as good as Gold Diggers of 1933. 7/10

The Devils (Ken Russell, 1971)
Hailed as a masterpiece by many, at least according to some of the reviews I am reading over the internet. I can see the historical value, the controversy and why this is interesting. For me it wasn't so special, merely because I didn't like how the story is told and its visual style. I didn't experience much depth or character development (only the protagonist maybe) resulting in a partly tedious experience. 6.5/10

Week 38 in film

Seconds (John Frankenheimer, 1966)
Yes, I was 'hoping' for a positive surprise, how unlogical this may sound. Concept of starting a new life with a new identity is not necessarily brilliant, even though original in 1966, but combined with the style of this film makes it more than worthwhile. Some great distorted imagery of which I only wished more and more. The last act is simply brilliant in more than one aspect and the overall message of this film is a fundamental one, I believe. I would spoil by explaining why. See for yourself :-).  8.5/10



Zusje (Robert Jan Westdijk, 1995)
Dutch film that only shows footage shot with a handicam by the protagonist. The choice for this form makes the 'reliable narrator'-angle interesting. At some points it does feel as a bit of a gimmick and the film doesn't manage to hold its suspense the whole time. I would recommend this if you like a somewhat more original narration, I am not saying all the cinematic elements are good though. 6.5/10

This is the End (Seth Rogen, 2013)
Kevin Smith-like friends-have-a-lot-of-fun-production. Tries to be both comedy and horror, and fails in at least one of the two. Some interesting issues are adressed (male friendship) but nevertheless I didn't really like this film. Why? It wasn't that funny, most of the jokes (sperm, penis, gay) felt forced and were hardly jokes. I did like the Michael Cera joke, and the Moneyball joke...that's about it. I will recommend this film if you like(d) the Backstreet Boys.  5/10

Saw (James Wan, 2004)
I remember being really impressed by this film the first time. Once you know the story (and twists etc), what remains is a very moderate film. I don't know why but I remembered this film to be much more suspenseful than it actually is. The whole time element, kidnapping of families etc is not very well executed, neither are the acting performances. Just because some parts are explicit or shocking doesn't necessarily make them good. 5/10

Week 37 in film

Fireworks (Takeshi Kitano, 1997)
My first encounter with Kitano leaves me with some mixed feelings. This film is supposedly his masterpiece and I can see why some hail it as such. It has some stylized, concentrated violence versus a beautiful peaceful pace. Has it moments, but unfortunately didn't really affect me emotionally.  7/10



Wolfsbergen (Nanouk Leopold, 2007)
Dutch arthouse. Slow, static and in this case very intense. Portrays members of a family that is, to say the least, dysfunctional. Its slow pace works in the sense that emotions can be felt really well and for at least an hour this film is good. Unfortunately the last part loses the quality of being interesting and the pace turns against you. In other words, it becomes too slow, way too slow. 6.5/10

Ghost World (Terry Zwigoff, 2001)
2001, as Kubrick, predicted was a magical (film) year. Ghost World is not a perfect film but has charming acting performances and shows wit and confident directing. Thora Birch (what happened to her?) shows to be a better actress than the beautiful Scarlett Johansson. I like the world of the 'imperfect' that is portrayed here in an original piece that partly manages to capture the world of the teenager. Reminded me of a much better film from the same year, Donnie Darko.  7.5/10

Jobs (Joshua Michael Stern, 2013)
Inevitably to be compared with David Fincher's The Social Network. That film managed to portray a brilliant asshole who did something that really mattered for his generation. Fincher gave us an insight in both why and how Eisenberg is an asshole and why Facebook is such a hit. Jobs fails to do both, Kutcher gives it a nice try to show us what Steve Jobs was like, but no why he was like that or why his product is so special. 4/10

North by Northwest (Alfred Hitchcock, 1959)
It was a couple of years ago when I last saw this classic Hitchcock. After seeing it again I understand why I only remembered a couple of scenes. The film is not as visionary as some of the other films that the master of suspense created in those years. This film sandwiched between Vertigo and Psycho, two of the best ever, is not as good but definitely entertaining and influential for the later (spy) action film.
"I am a big girl. -Yeah, and in all the right places, too"  8/10



Lovelace (Rob Epstein, 2013)
Week of the horrible biopics. I was hoping for something that could be in the region of Boogie Nights. Forget about it, this film has the artistic value of a late night TV-movie. 2.5/10

The Earrings of Madame de... (Max Ophuls, 1953)
I like Ophuls his beautiful visuals and camerawork, and again this picture is eye candy. Not as good as his Letter from an Unknown Woman (a personal favorite). Somehow this one is more distant and despite some smart devices (the earrings obviously) and a role for the great Vittorio de Sica it felt like a long and at times tedious exercise. 6.5/10

Week 36 in film

Imitation of Life (Douglas Sirk, 1959)
Safe to say that this film, the last in Sirk's oeuvre, is a culmination of the themes he likes to use in his films. I haven't seen the issue of racism been adressed so clever and effective before. The drama is truly gripping and the final scene is brilliantly sarcastic. Sirk is becoming one of my favourite directors and the late Hollywood 50's was already an era I love.
"I'm somebody else. I'm white... white... WHITE!"    9/10



Mud (Jeff Nichols, 2013)
There was a time when I couldn't stand Matthew McConaughey, I hated his self-indulgent overacting and presence on the screen in general. How easy this can change once an actor starts picking up good role after good role. In this film he is again acting great in a story which can best be described as a fairy-tale like drama from the perspective of children. Love the vibe, eventhough the ending leans towards the sweet and sappy. 8/10

The Wire - Season 3
Yes, I am still as excited as I was after the first season. How good is a series when you actually start missing (criminal) characters that are either killed or arrested? Two seasons to go and I will fall into a deep hole when this is over.... 9.5/10

Sharknado (Anthony C. Ferrante, 2013)
Best tagline ever: 'Enough said'. This film is so extremely bad...but it is made like it doesn't care and knows how bad it is. I had fun actually and you can't really say that the director failed since I am sure he was self-aware during the making of this crap. If not, he, and the rest of the world, should worry.... 5.5/10

The Last Relic (Grigori Kromanov, 1969)
You may have never heard of this film. Apparently the cinematic pride of Estonia. With or without this notion a pretty standard medieval adventure film that definitely has something going for it, for instance being charming and perhaps controversial (let's not spoil but the ending definitely makes a statement). Boring at times as well unfortunately. 6/10

The Roaring Twenties (Raoul Walsh, 1939)
Bogart and Cagney together in a picture never disappoints. I did expect a bit more fireworks in this film not only because of the cast but especially because I consider Walsh his White Heat (ten years later) a masterpiece and that one has a lot more suspense and action. The Roaring Twenties is a bit more timid and fragmented. Not a bad movie though, especially not if you are interested in its historical context.  7/10

Paradies: Glaube (Ulrich Seidl, 2012)
Not as good as Paradies: Liebe. This film somehow makes more of a caricature of its Christian female protagonist. People like her may be out there, but sympathy for her or her (moslim) husband is hard to feel. Well, I felt a bit bad for the husband a couple of times. Some moments are really funny and I wonder if that is what the director intented. 6/10

I'm a Cyborg, But That's Ok (Chan-wook Park, 2006)
The director of Oldboy made a messy, chaotic comedy that fails to be funny. This film is boring, and that's not ok.  3.5/10



The Hour-Glass Sanatorium (Wojciech Has, 1973)
Quite a trip. This film (from Poland) portrays a guy who visits his dying father in a sanatorium where some hour-glass trick can reverse time and change events. Sound like a science fiction film but this film is more a dreamlike, colorful trip. The protagonist is confronted with ex-girlfriends, his father and mother in better times, jew ghetto's etc. When I read this synopsis I was hoping for a film like Tarkovsky's The Mirror. The comparison doesn't hold up that well, this film is more static, colorful and fantasy-like. Looks like something that inspired Terry Gilliam's nineties work.  Beautiful, but at times confusing and (too) trippy.  7.5/10

Week 35 in film

Blue Jasmine (Woody Allen, 2013)
One of the better Allen's again. Blanchett really is good and I think the mix of drama and comedy worked well. I do believe Allen doesn't have a very clear and realistic view on the lower classes in this world. They don't live in San Francisco the way they do in this film and they don't all have bad taste in style.  7.5/10



The Last Stand (Jee-Woon Kim, 2013)
Korea doesn't direct well in Hollywood as it turns out. This film is also the return of 'Arnie' in cinema. It is ridiculous at times, and not in a good way. Not a good film and only at times enjoyable or fun which can sometimes overcome low quality. Not in this case.  4/10

Straw Dogs (Sam Peckinpah, 1971)
Best Peckinpah I've seen so far. Great directing in the last half hour, which has suspense all over it. Even though Hoffman's character is portrayed as a stereotype at first there is a lot more to him and he gives the film it's depth in a scary and convincing way, I believe.  8/10

Jean de Florette/Manon de Sources (Claudi Berri, 1986)
Overall slightly disappointing after all the positive reviews I've read and heard. The story is interesting but the directing is too safe and moderate. Becomes somewhat boring at times, the second film portrays some characters with a little more depth and nuance but overdoes it in the end. Still the second film is a little bit better, not only because I am not a big fan of Gerard Depardieu.  7/10;7.5/10

The Frozen Ground (Scott Walker, 2013)
By some hailed as the return of the 'solid' Nicolas Cage, true but this choice is a bit too safe. It is a by the numbers thriller based on a true story. We know who did it from the beginning, Cusack is portraying the serial killer somewhat creepy and his scenes with Cage are not bad, but this film lacks suspense and originality. I prefer a crazy Cage, luckily he is rumoured to have something to do with the new film of Richard Kelly. 4.5/10

Johnny Guitar (Nicholas Ray, 1954)
Unconventional western. Intentional colorful and played with by the director. Reversed roles (a stellar Joan Crawford) and plenty of sexual undertones. Above all, extremely enjoyable.
There's nothin' like a good smoke and a cuppa' coffee. You know, some men got the craving for gold and silver. Others need lotsa' land, with herds of cattle. And then there's those that got the weakness for whiskey, and for women. When you boil it all down, what does a man really need? Just a smoke and a cup of coffee. 8.5/10


Borgman (Alex van Warmerdam, 2013)
Absurd, funny and darker as ever. Van Warmerdam has a unique position in the Dutch cinema and after Cannes perhaps in European cinema. Not the worst billboard for our humble country in the cinematic world. The film itself is good, but not very much better as some of the previous films from this director. His absurdity is fun, but only works up to a certain point and doesn't keep your full attention (or concern) for almost two hours. Nevertheless, not your everyday movie. 7.5/10

Week 34 in film

A lot of films this week, a selection:

Roma (Federico Fellini, 1972)
After visiting the Fellini exposition in EYE Amsterdam I had to watch something of the Italian master. Roma shows fragments of Rome how it was in Fellini's early adolescence and how it is in the early seventies. I am usually not very excited about the fragmented and plotless approach, in this case it works partly (in fragments ;-)). The priest fashion show is by far the best scene of this film and shows how good Fellini can be. The observant viewer notices how Fellini criticizes 'modern' Rome, not in the last place in how he portrays it. Nevertheless, I prefer his earlier work (50's and 60's) above what he made in the 70's so far.  7/10


Spoorloos [The Vanishing] (George Sluizer, 1988)
Solid and for Dutch standards good film after Tim Krabbe's book (obligatory in high school). Having most of the dialogue in French and most of the events in France feels ' undutch' most of the time. I like how the ending 'disappoints'.  7.5/10

Ginger & Rosa (Sally Potter, 2012)
Wow. Elle Fanning delivers a stellar performance as the young Ginger in the roaring sixties. The world is about to be bombed, her father is an influential writer 'impressing' her best friend Rosa while Ginger already has a hard time dealing with growing up. This beautiful stylized coming-of-age story will rank as one of the best of the year.  8.5/10


Salo, or the 120 days of Sodom (Pier Paolo Pasolini, 1975)
Yeah, well. I had to watch this according to some of the critics and their toplists. After more than two hours I haven't learned much except some nazi's were really sick, which isn't exactly a brilliant insight. As disgusting as the film is it managed to interest me for maybe half an hour, the remainder felt repetitive. I think the point of the film was made clear.  4.5/10

Idi i Smotri [Come and See] (Elem Klimov, 1985)
If there is one specific type of film I am avoiding it is anything confronting me with the horrors of WWII. I guess I use film mainly to escape from reality not to be confronted with one of the worst periods of human history. I heard about this film a couple of years ago already and wasn't reluctant to watch it. Somehow now I found myself in the right mood, knowing what to expect. Horrible imagery, but being a Russian film I was hoping for some cinematic poetry as well, this film delivers both. I wouldn't recommend it to anyone, and I will probably not watch it again soon. It is, however a stunning film, which left me silent and impressed on multiple levels, all in all I am happy to have found the guts to finally watch it.  9/10


Playtime (Jacques Tati, 1967)
Considered classic and I can see why. Tati creates some intelligent jokes through smart cinematography. The chaotic situations in the highly stylized and symmetrical sets work but this film consumes your energy fast. There is hardly any audible dialogue and so much going on. Nevertheless I can appreciate Tati's, who clearly critizes modern society, style but 90 minutes would have been sufficient.  7.5/10

The Age of Innocence (Martin Scorsese, 1993)
The story (from Edith Wharton's novel) is pretty standard with a lawyer in upper class New York in the late 19th century who is married but has a weak spot for the unconventional and scandalous countess Ellen. Not very special maybe but this film is made by Martin Scorsese and has Daniel Day-Lewis. This is a combination that lifts the film to a higher level, the cinematography, sets, editing and acting are all above average and a beautiful wrap on a powerful story about romance and life choices.  8/10

Le Passé (Asghar Farhadi, 2013)

Not as compelling as A Separation but the Iranian director shows that he masters the drama genre. Every emotion and nuance can be felt and therefore Farhadi and his perfect actors (the kid is awesome!) deserve credit. Hollywood can only dream of portraying so many emotional layers and motivations so skillful. I do believe that this film tries to incorporate too many characters and therefore lacks the focus and impact of its predecessor, which was a masterpiece, of course.  7.5/10

Week 33 in film

Pain & Gain (Michael Bay, 2013)
One of Bay's best performances. Pain & Gain tries to be satirical and succeeds most of the time. Bay's high speed lets-blow-something-up-style is still visible here and still disturbing at times. I laughed a lot, nevertheless, I believe this script would have been better off with a different director with a better sense of satire. Fitness as a metaphor for the American dream and its disappointing result could have been done better.  6.5/10



Behind the Candelabra (Steven Soderbergh, 2013)
Of course, most of the credits go to Michael Douglas, who is simply great, but I believe Matt Damon's performance is just as impressive but in the shadow of his partner, which is exactly his role in this film. Besides performances a solid biopic from Soderbergh, who stops making films (again)? And how cool was Rob Lowe in this film.  7.5/10

The Bling Ring (Sofia Coppola, 2013)
Not as great as Coppola's earlier work. Her style feels extremely uneven and boring at times. I can't imagine this is on purpose regarding its thematics, which is in itself interesting enough to keep this film going. 6.5/10

The Lone Ranger (Gore Verbinski, 2013)
Just another Depp-does-his-thing-formula. I went in with low expectations and found myself having a good time. Should do this more often when I go to the cinema ;-).  6/10

The Boondock Saints (Troy Duffy, 1999)
Almost shockingly disappointing. The directing is simply horrible, this film wants to be everything it is not! Tarantino and Guy Ritchie are looking really good compared to this work of crap. I am not going to rate it a 1 because Willem Dafoe did have one or two fun scenes in this, he could have never saved it, though. 3/10

Pacific Rim (Guillermo del Toro, 2013)
Power Rangers on steroids and in 3D. I guess it is pretty good when you're into the genre. For me it felt boring and compulsory (fighting partners have to compatible bla bla) most of the times. Have to give it credits for the production design and visuals. 5.5/10



Shadows of Our Forgotten Ancestors (Sergei Parajanov, 1965)
Beautiful love story with stunning images and cinematography, which is not uncommon in Russian cinema. Unfortunately I did feel at arms length most of the time, probably because I didn't get all the symbolism (lot of Christian and Paganism) and perhaps it pays off to study a bit of history on this one. Nevertheless I believe that a movie should be good enough on its own, which this one is, don't get me wrong. Recommended.  8/10

Ballad of Narayama (Keisuke Kinoshita, 1958)
More or less the same as for Parajanov's film holds for this one. Beautifully shot at times but I couldn't really feel the emotional built up and couldn't feel with the characters. In fact, I did read up on ubasute (carrying your elder to a mountain top to die there). It helped me in understanding some of the motivations but I can't say it really grabbed me.  7/10

Week 32 in film

The Grandmaster (Wong Kar Wai, 2013)
As stated before, I am nog a big fan of Wong Kar Wai. Somehow, I don't like his way of storytelling. On the other hand I do appreciate his visual style and The Grandmaster is definitely a visual treat. Even if you're not into Kung fu, go watch this film for some amazing choreography and cinematography. Downside is, again, the story the director tells us. A film like this should have ended on a high, unfortunately Wai made a different choice and the whole feels unbalanced.  7.5/10




Post Tenebras Lux (Carlos Reygadas, 2012)
I was really looking forward to this film as it is compared to the work of Terrence Malick for instance. I can see this from the beautiful openingtake but it doesn't hold very long. Some individual scenes (mostly posed as dreams or memories, which usually really works for me) are fascinating but some are exhausting and too far from the core of the film, if there is one, and at the end of the film I believe to have found one. A unique piece of work, but too fragmented and distant too get me really excited. The lack of non-diegetic music doesn't help much. 7/10

The Quiet American (Joseph L. Mankiewicz, 1958)
Every minute of this film felt mediocre and lacks the suspense I was hoping for. Hopefully my first encounter with this director isn't representative for the rest of his oeuvre. 6/10

Blood Work (Clint Eastwood, 2002)
Not a good film. I won't 'spoil' why it isn't. But when Clint is chasing a serial killer who leaves codes, takes relics from his victims and keeps both Clint and the viewer puzzling it entertains me sufficiently. Every minute after the mystery is solved is redundant.  6/10

Week 31 in film

The Wire - Season 1 (David Simon, 2002)

Usually I try to 'avoid' series. I am simply too sensitive to addiction and loyal so it always becomes very time consuming. With The Wire I couldn't resist and had to watch the pilot. I was hooked instantly. Firstly, the activity of a police unit versus an advanced criminal organisation is exactly what I like in a series and I am reading and hearing nothing but praise about how it is done here. It took me 3 days to watch the first season, which is proving my addictive nature (or lack of better things to do) and is a confirmation of the suspenseful quality of this series. But there is so much more. The numerous characters are all made interesting, multi-dimensional and most of their motivations are very insightful. The writing and dialogue is so damn realistic I wouldn't dare to cross the street in Baltimore (Omar's coming...). Good to know that there are 4 seasons to come for me, I will find time, because I absolutely love this. Has everything I would ask of a series that keeps me up at night and constantly makes me want to continue watching. Brilliant.  9.5/10

The Call (Brad Anderson, 2013)
The director of The Machinist (remember, a 45 kg Christian Bale...) made a pretty great first hour in this thriller where Halle Berry is talking a young girl through a kidnapping on the phone. As soon as the phone call ends the film goes down to an almost ridiculous level. Fun maybe, but totally unseemly.  6/10

Summer with Monika (Ingmar Bergman, 1953)
Early Bergman is somewhat mediocre and has less to say than some of his later work. But an 'ok' Bergman is still pretty good. 7.5/10

Absolute Power (Clint Eastwood, 1997)
A 'middle' nineties American action thriller involving the president as a bad guy. Very cliche, but I am filled with nostalghia since this is exactly the kind of movie I grew up with. And with good old Clint in the lead it is not hard rooting for the good guy, is it?  6.5/10

Margot at the Wedding (Noah Baumbach, 2007)
Portraying somewhat troubled and unpleasant characters is Baumbachs trademark it seems. Most of the cast of this film fits this suit perfectly, but unlike in his Frances Ha I couldn't care about them much. Feels almost just as unbalanced as their characters. 5.5/10

Week 30 in film

Hot week, not a lot of films...

To the Wonder (Terrence Malick, 2012)
So, this is film is, just like The Tree of Life, beautiful. Extraordinarily beautiful at times, but for me it suffers from a lack of emotional involvement. Where the characters and their motivations absolutely struck me in his previous film, most of Malick's characters failed to interest me in this one. Especially Ben Affleck left me cold, the fact that he can't really act doesn't help, of course. In general it feels like Malick was using the plot and the people in it more as a device to ask questions, which we are used to from this director, than to actually fascinate or reach its viewer. Exception to this notion is Javier Bardem, who, as a modern priest, is suffering from a crisis. His character and his struggle did strike me but unfortunately his part is minor and farther from Affleck an Kurylenko than I was hoping for. The first half hour and final five minutes were outstanding in its imagery and editing (same formula as The New World, where this works better). In between it was hard to connect to this film. A Malick film about relationships should have had a bigger impact on me.  6.5/10


Napoleon Dynamite (Jared Hess, 2004)
Here's a Hollywood comedy that is totally different from the usual films in this genre. It feels more distant, raw and awkward and therefore it is funnier, I think. The odd Jon Heder is great and I laughed a great deal. Its weird and unfamiliair style has a flipside that the less funny parts starts to bore you quicker but all in all it is good enough.  7/10

Bob le flambeur (Jean-Pierre Melville, 1956)
Another great film from a director who looks like to be added to my list of favorites. Haven't seen a film of him lower than 8/10. Let's see if I can find one, I am expecting to have a good time. French cinema goes a long, long way.  8.5/10

Week 29 in film

Daisies (Vera Chytilova, 1966)
Not sure why this film is in so many top-lists (They Shoot Pictures..). It is original but I found it annoying, there is no plotlogic, overdone editing and the two girls we are looking at bored me really fast. 4.5/10

Millennium Mambo (Hsiao-hsien Hou, 2001)
My high expectations were rising in the brilliant opening sequence. Unfortunately there is not enough plot to keep me on this high. Some beautiful photography, but a slow pace doesn't work in this case for me. Not sure why, the good vibe is slowly dimming and fails to hit you in the face in the end as I was expecting somehow. I did love the soundtrack for especially the first hour, spot on.  7/10


Red 2 (Dean Parisot, 2013)
If you don't mind taking a film too serious and like over-the-top action this will be laugh riot. Refreshing to see an action film that is self aware of how ridiculous it is. Malkovich, Willis and Hopkins act accordingly. Yes, I had a suprisingly good time, who cares if the plot doesn't make sense :)  6.5/10

The Internship (Shawn Levy, 2013)
Showcase for 'Hollywood formulas 101'. This Google-ad has all the one-dimensional characters you expect and the plot develops accordingly. Extremely unoriginal, don't waste your money on this film, except if you don't mind a predictable, everyone-loves-each-other-even-for-the-2889788th time comedy.  2.5/10

Grown Ups 2 (Dennis Dugan, 2013)
Surprisingly....not too bad! Sandler reached rock bottom with Jack and Jill and perhaps those Razzies gave him some food for thought. His jokes are still from a doubtful level but he seems to be more aware of it. There is less plot, less moral (thank God!!) and he falls back on some good old Sandler-violence. Still has some of the bad aspects of Grown Ups but this film has less to say, therefore it is better. I had quite a good time. Salma Hayek is way too hot for Sandler, but this time he noticed himself ;-). 5.5/10


Despicable Me (Pierre Coffin a.o. , 2010)
Adorable animation but it will never become my favourite genre. It is funny, but too predictable to stand out I'm afraid.  6.5/10

Week 28 in film

Had better film weeks...

Bitter Moon (Roman Polanski, 1992)
Controversial. Roman Polanski. Could have been quite something. Especially from this director I expected at least something surprising, shocking or insightful. This film is about the super decent Hugh Grant who meets a disabled guy sharing his history which his much younger sensual wife, played by Emanuelle Seigner, Polanski's wife in real life. Most of the film tells this story, which is way way too boring for its controversial (S&M, sexual dominance) content. Dull and forgettable.  3/10


Pieta (Kim Ki Duk, 2012)
As usual, not a lot of dialogue in this latest Kim Ki Duk film. Combined with the depressing surroundings in which our protagonist terrorizes his victims as a loan shark matches the film's mood. Never felt comfortable watching this. Of course something changes when his mom arrives at the scene but somehow I couldn't care anymore. I didn't like the main character, didn't like the film. Not very bad, but this director can do so much better. 5/10

Irréversible (Gaspar Noé, 2003)
Finally I had the 'nerve' to watch this. The dvd cover warned me for extreme and realistic violence. To be honest I wasn't that shocked. The infamous rape scene is uncomfortable but doesn't reach the desired effect the director is after, at least from how I interpret this film. Some of the disorientating camera movements combined with a haunting sound design along the first scenes were effective but this effect is lost at the end of this picture.  6/10

Now You See Me (Louis Leterrier, 2013)
A movie about magicians is begging for a plot twist. This is not even a surprise nowadays. But is this a reason to make it so ridiculous? Had an ok 'Ocean's eleven' like start but slowly went downhill and not only became very improbable it also felt forced. Proves once more how hard it is to write a proper original ending. Yes, failed to do so.  4.5/10


The Notebook (Nick Cassavetes, 2004)
I guess this film can be considered classic in a way, so I decided to watch it. Not as special as I was hoping for. End of the day not much more than a standard poor boy meets rich girl story. Seen it all before. With all I mean both plot and narrative (flashback). Nevertheless pretty amusing.  5.5/10