Week 26 in film

Killer Joe (William Friedkin, 2011)
Matthew McConaughey directed by the guy who gave the world The Exorcist. And yes, this is somewhat haunting and Mr. Sixpack deserves credit. He chooses better movies lately (Magic Mike) and appears to be a better actor than what I took him for. Bye Bye Surfer Dude...here's Killer Joe.   7/10



The Hangover Part III (Todd Phillips, 2013)
Felt like treating myself with some light Hollywood entertainment. Even with low demands far from sufficient. Not as bad as Part II but the franchise should have stopped somewhere during the first film already. I smiled a couple of times, never really laughed.   3.5/10

Picnic at Hanging Rock (Peter Weir, 1975)
Fictional tale about a handful of girls who disappear after the title event. Not so much a film about the mystery and how and why behind it but more about the effects of their disappearance. Beautifully crafted and could have inspired a film like The Virgin Suicides or Dead Poets Society (Oh wait, who directed that one again...). Both films mentioned above had more depth if you ask me. This one has more poetic undertones.  7.5/10

Il deserto rosso (Michelangelo Antonioni, 1964)
I think the first time I saw this film is about a year ago and I thought of it as a good film, but nog mind-blowing. After a while I realized this film came to my mind on a number of occasions, associations go a long way in my film world. Time for a second viewing (on blu-ray). Much better than the first time could I recognize Antonioni's trademarks and choices in composition. In addition to his previous trilogy (L'avventura, L'eclisse and La notte, all great films) this film has a colour composition fitting perfectly to the mood of our female lead who has a hard time dealing with her environment. Some claim the film to be a statement against industrialization, but my feeling is that our protagonist would be unstable everywhere, that's partly the point. Antonioni uses his choice of environment very subtle to add to our 'heroin'. Include a mood-indulgent soundtrack and everything adds up. Near to perfection for me.  9.5/10



Suzhou River (Ye Lou, 2000)
Perhaps best summarized as how Wong Kar Wai's take on Hitchcock's Vertigo would have looked like. Sounds a bit lame maybe, and since I am not a big fan of Wai (for as far I have seen) could have been a bad choice for a lazy sunday afternoon but turned out to be pretty good, better than any WKW so far anyway.  8/10

Week 25 in film

Passion (Brian de Palma, 2012)
De Palma returns back to the 'ero-thriller' genre. Wasn't impressed with his earlier ones and this is probably worse. Despite some decent acting by Noomi Rapace the whole thing feels like a joke. De Palma kills the suspense with a returning gimmick.   4.5/10



Partie de Campagne (Jean Renoir, 1936)
This short Renoir makes you want to go to France immediately. Love the light mood.  8/10

L'eden et apres (Alain Robbe-Grillet, 1970)
The experimental style made a great impression on me for the first half and this film was heading for a huge score. Unfortunately it can't live up to its promise and left me a bit unsatisfied. Style over substance? For me a case where this works but could have been in better balance. Nevertheless a masterclass in associative editing.   8/10

Intolerable Cruelty (Coen Brothers, 2003)
A film like this presents a plot we have seen many times before. The Coen brothers could have made a difference with their witty dialogue and awkward situations and characters we are used to. Unfortunately doesn't quiet live up to this expectation and feels very forgettable after all.  6/10

Gentlemen Prefer Blondes (Howard Hawks, 1953)
Here's a musical I could bear. Funny and very amusing overall. Marilyn Monroe wasn't the best actress but damn she knows how to grab your and all the men in this film's attention.  7.5/10



Les bijoutiers du clair de lune (Roger Vadim, 1958) 
Another Bardot-Vadim collaboration that fails to entertain. First half hour was somewhat promising with some nice shots of the Spanish surroundings but this film should have ended soon after this. Bardot is beautiful but the rest of the film is dull, extremely dull in fact.  3.5/10

Week 24 in film

Good week for films. Most of it the result of a rainy, windy weekend combined with a slight hangover:

Deadfall (Christopher Coppola, 1993)
Crap, what a horrible movie. Had to watch it because it has a hilarious Cage-performance, which is the only excuse for watching this piece of garbage. Cage is out of his mind, which is, as ever, priceless  2/10



Stoker (Chan Wook Park, 2013)
South-Korea is coming to Hollywood and this is the result. It is an exact mix with a typical Hollywood-twist-and-turns plot, beautiful cinematography and intense directing from Asia. The latter making it somewhat worthwhile 6/10

To Be or Not To Be (Ernst Lubitsch, 1942)
Perhaps one of the best comedy's ever. This film about a bunch of 'nazi'-actors is sharp, witty and has a high tempo. Pretty sure Tarantino watched it before he made his Inglourious Basterds.  9/10

Where the Sidewalk Ends (Otto Preminger, 1950)
The kind of noir-quality I expected from Preminger. Great plot, suspense and of course it has the beautiful Gene Tierney  8/10

Il gattopardo (Luchino Visconti, 1963)
To be honest I am somewhat disappointed by this classic. Ok, the cinematography is of Italian beauty and style. Its plot nevertheless demands quite a bit of patience. Perhaps better appreciated with more background knowledge of Italian politics or maybe a second viewing. Does have great performances.  7.5/10



Still Walking (Hirokazu Koreeda, 2008)
Russia has Zvyagintsev to imitate Tarkovsky, Japan has Koreeda to imitate Ozu. Intimate portrayal of a complex (as ever) family situation demands great leads which are present. Still it feels like something is missing, as if more impact could have been established.  7.5/10

Super 8 (J.J. Abrams, 2011)
E.T. has grown older. Well-portrayed roles by child actors who want to make a horror movie. 7/10

Only God Forgives (Nicolas Winding Refn, 2013)
Not even close to Refn's Drive. Closer to Fear X. Style over substance is abused here. Neon lights, elektro music, Lynchian takes in deep hallways. Theoretically it could totally blow me away, unfortunately any emotional involvement is lacking. The violence is overdone again, this time not only uncomfortable but also inappropriate. Has some good moments and Kristin Scott Thomas is impressive, but that's about it.  6/10



Tristana (Luis Bunuel, 1970)
The beautiful Catherine Deneuve is falling apart in more than one way. Not bad, but I am still not a fan of Bunuel's style. Viridiana being the major exception.  7/10

Dead Ringers (David Cronenberg, 1988)
Brilliant twin gynaecologists are sharing work, praise and women. Treats some interesting themes but presents them without focus. Maybe too rich and promising. Tedious. 6/10

Week 23 in film

Before Midnight (Richard Linklater, 2013)
With the previous films being amongst my personal favorites I was somewhat afraid of a disappointment. The start felt a bit off, we see Jesse with his son at the airport, is this film going to live up to its predecessors? The answer: yes. It doesn't take too long before Jesse and Celine are together talking and talking, and talking. May be boring for many, it blew me away again. The conversations are so real, feel so natural and made me sit on the edge of my seat the entire time. After three films the 2nd (Before Sunset) is still the best. Linklater stated that this is the last one, I wonder how he feels in 9 years from now. Anyway, forget the Godfather-trilogy, this is better!  8.5/10



All I Desire (Douglas Sirk, 1953)
As I am watching a lot of films from the early thirties lately the great Barbara Stanwyck grows in my book of favorite actresses. In this film she is somewhat older, but still on fire. Not the best Sirk, but her performance makes it definitely worthwhile. 7.5/10

The Divorcee (Robert Z. Leonard, 1930)
Apparently a pre-code classic. Were the actors acting or reading from the script? To me they felt like cardboard, the story, controversial maybe, but nevertheless predictable and too sweet. Forgettable. 5/10

Design for Living (Ernst Lubitsch, 1933)
Much better example of a qualitative product of pre-code Hollywood. Funny and well-acted film from the director of favorites like Trouble in Paradise and To Be or Not To Be. Oh, and I will look up more films that have Edward Everett Horton, what a character!  7.5/10

Week 22 in film

La Dolce Vita (Federico Fellini, 1960)
Somehow I never took the time to watch the entire film as I knew a lot of individual scenes (the fountain obviously). Great film that deserves its status. Never have I seen so much energy and glamour unable to cover up true sadness and emptiness. Ironically enough the protagonist is carrying his actors name, Marcello. The real Marcello led a similar life, something that gives this film an extra charge in retrospect. As ever with Fellini, the ending is superb.  9/10



Freaks (Todd Browning, 1932)
The use of a wide range of 'freaks' makes this a unique and at times touching film. Flipside of the coin is bad acting performances and a plot that feels secondary  7/10

Love Me Tonight (Rouben Mamoulian, 1932)
Most fun I had this week. Tailor chases playboy who owes him and is introduced to the family as a Baron. Of course he falls in love with a high society girl. Leads to some hilarious scenes. Made me nothing but happy. Who can resist lines like: "I fell flat on my flute" ?  8.5/10 



In Time (Andrew Niccol, 2011)
Time is money, actually time is time. Take away this intriguing concept, which brought up a lot of questions and improbabilities, and you end up with a standard Bonnie and Clyde goes Robin Hood kinda formula without any true depth. I expected more from someone who directed Gattaca and wrote the screenplay for The Truman Show. Justin Timberlake doesn't help much either.   5.5/10

Sliver (Phillip Noyce, 1993)
Written by Joe Esztheras and with Sharon Stone. In a lot of ways derivative of Basic Instinct. Lacking Paul Verhoeven, Michael Douglas and a good ending. Started off alright, ended as quite a deception. 5/10

Childhood of Ivan (Andrei Tarkovsky, 1962)
Tarkovsky's dreamlike first full feature is an anacrusis to his later masterpieces. Beautiful cinematography that  only lacks colour, maybe. On the other hand, the grim and dark feeling that goes with war is maybe better off without.  8/10