Week 16 and 17 in film

I'm Still Here (Casey Affleck, 2010)
Not only a great actor, but Phoenix proves to be funny as well. Had the world doubting if his claimed career move (from actor to rapper) was a hoax. Everyone remembers his Letterman appearance, this film puts it in context. A great joke and a statement against reality shows, unfortunately not funny enough to fill an entire film. 6.5/10

Enter the Void (Gaspar Noe, 2009)
After watching this a couple of years ago it came back to my memory at times. Perhaps better than I remembered? Well, yes, for the first hour, at least, it's great. It is the second half that kills it a bit. Noe's very original choice in narration works against him after a while. Makes the last hour a drag, which is a shame, this film is special. 6/10

Hard Target (John Woo, 1993)
Guilty pleasure, and it's not even bad! John Woo's first Hollywood film is a fast and stylish action flick that has everything that made the 90s action movies great. Van Damme's haircut is film history in itself! 7.5/10

We Own The Night (James Gray, 2007)
Again, a good film from Gray. This is not the most original plot, but directed in a way that feels more like Scorsese than most imitations, and this might not even be an imitation. Phoenix is, as ever, great. 8/10

Cop Land (James Mangold, 1997)
What a mess. A great cast that centers the weakest actor. Fails to entertain which is quite a shame considering that it is a genre that easily amuses me, usually. 4/10

The Hunger Games: Cathing Fire (Francis Lawrence, 2013)
Jennifer Lawrence, Philip Seymour Hoffman, an exciting survival battle? Could be great. Well, forget it. Maybe this film appeals to you if you've read the book, but I couldn't feel with the characters or experience any suspense, at all. And shouldn't it have an ending? Oh wait, we have a new goose with golden eggs. 3/10



Magnificent Obsession (Douglas Sirk, 1954)
Starting to become a Sirk fan. His films are just as beautiful and easy to watch as they are melodramatic. This one is sometimes too melodramatic but contains a very powerful message, not even under the surface this time, or I am missing something... 8/10

White Dog (Samuel Fuller, 1982)
Powerful story about a dog who is trained to attack (and kill) black people. Great metaphor and one very effective horror film. A must see in American cinema. 8/10

Week 14 and 15 in film

Noah (Darren Aronofsky, 2014)
Yes, as a whole disappointing, especially if you consider what Aronofsky is capable of. Nevertheless, this film managed to move me. The last hour is very powerful, whereas the first felt somewhat too bombastic with a lot of effects and Power Rangers in stone. Not a bad film, but it lacks a sharp notion about the modern day world. I would have been impressed if Aronofsky decided too flood the world by melting the poles. 7/10 



The Saint (Phillip Noyce, 1997)
This film begs for a lame statement: Val Kilmer can't disguise this film being bad and very disappointing. 3/10

Tape (Richard Linklater, 2001)
Play adaptations are made by acting performances. The cast may not be that promising, but thanks to tense directing and good performances, especially Ethan Hawke, they pull of a good film. Makes me want to investigate Linklater's oeuvre more. 7.5/10

Ordet (Carl Theodor Dreyer, 1955)
A masterpiece about religion and the difference between the belief and religious conventions and conflicts. The ending would have been corny in 99% of the cases, but this film pulls it off, see for yourself what I mean. Very impressive. 9/10

Killing Zoe (Roger Avary, 1994)
One of many in the bank heist category. Builds up with a lot of stupid behaviour involving drugs and booze, leaving not much to be a surprise. 5/10

Submarine (Richard Ayoade, 2010)
Not sure how to summarize this, Wes Anderson meets Todd Solondz? Anyway, it is funny, original, has some great in-jokes and is very aware of film conventions. The story couldn't really hold my attention, somehow, expected more somehow. 6.5/10

Anchorman 2: The Legend Continues (Adam McKay, 2013)
Only Steve Carrell's retard character held up, here. I don't think there was any other situation or character that made me laugh. 4/10

Week 12 and 13 in film

Nymphomaniac pt.I & II (Lars von Trier, 2013)
Suffers from lack of subtlety on multiple levels. As a whole not a bad film, since its length never feels problematic, but some parts are simply there to raise controversy. Comparing sex to fly fishing and classical music? Please. Luckily, this time von Trier doesn't try to imitate Tarkovsky but simply borrows Bach's 'The Mirror'-piece and one of Roeblov's icons. Clear enough. 6/10



Batman (Tim Burton, 1989)
Early Burton where he shows his strengths and weaknesses. Great art direction and good type casting. Nicholson is good, comparable to what Heath Ledger did with the Joker. I can't say the same thing about Michael Keaton. He lacks the status and charisma to really present a believable Bruce Wayne. Especially if you can't display chemistry with one of the most beautiful women in film history. 6.5/10

Death and the Maiden (Roman Polanski, 1994)
The paranoid Sigourney Weaver thinks her visiting neighbour is the man who raped and abused her in the past. Polanski has its way with films that are based on a play. I am not sure if I really like this one. The acting, not unimportant in such a setting, is overall not that great (Stuart Wilson). Polanski did make me doubt the guilt or innocence of the antagonist constantly. 6.5/10

The City of Lost Children (Marc Caro, Jean-Pierre Jeunet, 1995)
Disappointing. Some great ideas, beautiful settings and an original script. It's the directing where it goes wrong, no suspense or urgency is created here, at least not for me. What doesn't help is that the most annoying actor in this film is multiplied by 7. 5.5/10

Beyond the Black Rainbow (Panos Cosmatos, 2011)
It's like Only God Forgives in slow-motion. No suspense, a lot of pretentions, really, really boring despite some beautiful photography. Experimental film is called experimental for a reason, it fails at times. 2.5/10

Vampire's Kiss (Robert Bierman, 1988)
Cage-mania. Saw it two years ago and simply rated it on its merits. I was wrong. Cage makes the merits and is  insane and therefore hilarious. Died laughing. 6.5/10

Week 10 and 11 in film

True Detective - Season 1 (Nic Pizzolatto, 2014)
I couldn't resist. A detective series that resonates Twin Peaks and focuses on the flawed characters. Exactly my cup of tea. Most of this series is excellent, even brilliant sometimes, like the final part of the fourth episode. If I was disappointed somewhere along the road, it was during the final episode. It is great, but I expected more angles after the build up in the previous episodes. Perhaps, could have used a couple of episodes more. Nevertheless, a must see for anyone who likes (detective)series. And I haven't even mentioned the stellar performances. 8.5/10



La haine (Mathieu Kassovitz, 1995)
Decent character study of angry youth in the French banlieus. They are bored, violent and represent the problems that are present. Despite all violence, hostility and sincere characters this film didn't move me as I had anticipated. 7/10

Soylent Green (Richard Fleischer, 1973)
It's the future, all food is from soy, its color depends on the day. A funny and possibly interesting notion, but this film sucks. Even with Edward G. Robinson the scenes don't work well, accept for one dreamlike one towards the ending. It has to be said: Charles Heston, who has the lead roll, is terrible in this film. Every first year film student would be embarrassed by producing such lame action scenes. 3.5/10

Touchez pas au grisbi (Jacques Becker, 1954)
A French gangster film from Becker, the director who made the  perfect Le trou (1960). Has the typical french elements that are present in almost every french crime film, a genre mastered by directors like Melville. This film skips the heist but focuses on the consequences. Becker slowly (maybe a bit too slow) builds up the tension and delivers yet another great film. 8/10

The Devil's Eye (Ingmar Bergman, 1960)
Satan sends Don Juan to earth to take a young girl's virginity so that his infected eye will be cured. Yes, Bergman attempts to be funny and succeeds. And of course, love wins over evil. 7/10

Funny Face (Stanley Donen, 1957)
I will probably never become the biggest fan of musicals. I might be missing why this is a masterpiece, but its story is pretty...standard and predictable? The colouring is beautiful, the acting good and some scenes are funny. Good for a laidback saturday night. 7/10

Week 8 and 9 in film

Her (Spike Jonze, 2013)
Wow! This must be the best film of 2013. It's smart, funny, visionary and exactly the kind of SF I like. Phoenix is endearing and even Johansson's voice was cast perfectly. Interesting question: is this Jonze his answer to Lost in Translation? The broken heart issue might not be just fictional but be inspired by Jonze his lost love Sofia Coppola. Anyway, Her is great and one Academy Award was not enough if you ask me.
You're dating an OS! So, what's that like?  9/10



La vita e bella (Roberto Benigni, 1997)
Disappointing. This film takes place in one of the most horrible places in history. Benigni annoyed me more than he made me feel emotional, positive or negative. 6/10 

The Innocents (Jack Clayton, 1961)
One of the scariest films ever. No 'cheap' thrills but tense directing and very well acted by the children. Showing a minimum of that what we should be scared of again proves to work very well. 8.5/10

12 Years A Slave (Steve McQueen, 2013)
Finally, a good film that adresses the horrors of slavery. I was afraid of a lot of 'Oprah-Winfrey'-like sentimentality but McQueen stays true to his style and makes no compromises. Beautifully shot and well acted, especially by Michael Fassbender and his terrifying wife (Sarah Paulson). I was impressed after the final shot, more than I expected while the film was progressing. Yes, it is good enough to win an Oscar. 8/10

The Grand Budapest Hotel (Wes Anderson, 2014)
Colorful, stylish and screwbally funny. Fans of the director will be treated with 'the usual' but also something fresh and original in the world of Anderson. Not as good as Moonrise Kingdom but unlike some of the earlier Anderson's I like this film. Keep them coming. 8/10



August: Osage County (John Wells, 2013)
This film is over the top. Overacted by Streep and Roberts (I think she had a lot of fun). Some parts were well acted, but it is not really a good film. I did have a lot of fun, though. Only Nicolas Cage was missing
 ;-). 6.5/10

Ain't Them Bodies Saints (David Lowery, 2013)
Are all films from the midwest Malick-like now? This one is for sure inspired by films like Days of Heaven. Unfortunately not the best copy. Looks good but fails to tell an interesting story. 5.5/10

Breakfast at Tiffany's (Blake Edwards, 1961)
I can see why its iconic, not that good if you ask me. Who would cast an American to play an Asian these days? Racist, but, I am sorry, very funny. Entertained me, but in the end I cared just as much for the cat as I did for Paul Varjak. 7/10

Week 7 in film

Lost in Translation (Sofia Coppola, 2003)
Sometimes I can't resist to watch one of my favorites again. In most cases my enthousiasm grows, as is the case with Lost in Translation. I love the Hotel settings, I love how this film feels like Asian cinema. I love Bill Murray and Scarlett Johansson. Their chemistry and life phases are a recipe for a masterpiece. Johansson is the bright girl who sees that the enthousiastic behaviour of her generation (the talky actress) is fake and that real life might be a struggle. A struggle that Murray is living, acknowledging but he also knows how to deal with it. This, a great soundtrack and soothing pace makes one of my favorites, for sure.
"I guess every girl goes through a photography phase."
9.5/10



Venus in Fur (Roman Polanski, 2013)
Polanski adapts another play, and makes it even more minimal than Carnage. Just two players, Emmanuelle Seigner (Polanski's wife) and Mathieu Amalric (who looks very much like Polanski), and obviously they talk a lot where play and reality are interwoven. The tension builts up as the film progresses culminating in a grand finale. Maybe I would have appreciated it more if I knew the play, not bad, but became interesting too late. 6/10

Only Lovers Left Alive (Jim Jarmusch, 2013)
I really like what Jarmusch does here. Adam and Eve are vampires, they have lived through the whole of history, made their contributions and are contemplating on modern society and on what the future will be like ("Are they already fighting over water? No, it's still about oil"). I like the mood that Jarmusch is creating but does it really have to be that slow?  7.5/10

Dallas Buyers Club (Jean-Marc Vallee, 2013)
Some great performances aside (Oscar bait...), this film really isn't much more than a by the numbers, based on true events, TV-movie (we've seen all the obligatory characters before). I can imagine the gay-community being somewhat pissed off that this had to be from the perspective of a straighter than straight redneck to become a success. 4.5/10

Week 4-6 in film

Skipped 2 weeks because of a holiday and only watching a few films. I made up for it this week :-).

25th Hour (Spike Lee, 2002)
The saddest news: Philip Seymour Hoffman died. Perhaps the best of his generation, he was my favorite for a couple of years already, so I had to (re)watch a good role (basically each of his films would do). 25th Hour is great, not only Hoffman, but Norton, the whole pace and direction of the film are great. The mirror scene is mind-blowing. Hoffman is a decent part of the whole, as he was so often, just as often as he lifted a mediocre film to a higher level. 8.5/10



Otto e Mezzo (Federico Fellini, 1963)
I love Fellini but not this film that much. Hailed as his masterpiece by many. I find it too fragmented and it fails to grab my attention except for some of the beautiful cinematography. I understand the story but I just don't think it is interesting enough to make it a masterpiece, it exhausted me eventually.  7/10

Goodfellas (Martin Scorsese, 1990)
After watching The Wolf of Wall Street and American Hustle I couldn't resist to go back to watching the Scorsese classic. Yes, this one is better. I saw it about 5 years ago and I could remember a couple of strong scenes and not so much the overall story or mood which is exactly describing the strong and weaker points of this film. 8/10

Two Mothers (Anne Fontaine, 2012)
Two mothers falling in love with each others sons. Really? Unfortunately the romantic constructions in this film are not very plausible. Love the scenery, however.  5/10

Bonnie and Clyde (Arthur Penn, 1967)
Entertaining, sure, and a hell of a closing scene, but not a masterpiece. Therefore it feels too much like 'The Dukes of Hazzard'.  7/10



X-Men: First Class (Matthew Vaughn, 2011)
Its great cast made me watch this and I don't regret it. In the big pool of comic-action-hero films one of the better ones. Especially the first hour had quite a good built up of tension and story. Lawrence is good, as ever, Fassbender is too much 'himself', I couldn't help seeing his Shame-character instead of Magneto. Nevertheless worthwhile.  7/10

The Lonely Voice of Man (Aleksandr Sokurov, 1987)
I love Russian cinema, but not this one. Perhaps I am missing the point, but still, how slow and boring can film become. Beauty can't save this one. 4.5/10

Oh Boy (Jan Ole Gerster, 2012)
Germany's Frances Ha? Is Niko,the protagonist weird or crazy? Or is everyone around him? I like this notion, and I somehow symphatize strongly with our Niko. Charming film and well shot. And how hard is it to get a cup of coffee? :-)  8/10

Week 3 in film

One, Two, Three (Billy Wilder, 1961)
James Cagney reminds one of the thirties in this fast comedy. I like Wilder for his cynical and sometimes dark view on things, this film is definitely a form of satire but not always that funny or effective. Some of the jokes about communists are simply dull, this film isn't but I expected better.  7/10




Jack Ryan: Shadow Recruit (Kenneth Branagh, 2014)
Looks and sounds like James Bond, Jason Bourne or Mission Impossible. And yes, especially the first hour meets up with these expectations. Unfortunately it goes downhill from there, especially when things are speeded up and the plot becomes too improbable I felt really disappointed. Chris Pine isn't the worst actor in this genre, although I never bought his relationship with Keira Knightley. 5/10

The Color of Paradise (Majid Majidi, 1999)
Cinema from Iran never disappoints, neither does this one. The notion of a blind boy being unwanted may sound like emotional manipulation, but this film stays very close to a realistic and honestly gripping story. The ending overdoes it a bit, but nevertheless good.  7.5/10

Brainstorm (Lais Bodanzky, 2001)
From Brazil, a teenage boy smokes pot and is send to a rehab institution by his father. What happens to him is horrible and yes this film has its powerful moments in stating how inhuman such an institution can be. Spreading this over the whole length of the film is a bit too much for me. 5.5/10

My Blueberry Nights (Wong Kar Wai, 2007)
As I am not even a fan of Wai his Chinese stuff I reluctantly gave his Hollywood film a try. It does have both Natalie Portman and Rachel Weisz, so what could go wrong? Well, the lack of a plot and Norah Jones could. Portman, Weisz (and Strathairn) are fine but the rest really isn't, Jones isn't very suited for the lead. I could go with the mood of the opening scene for a while but it doesn't stick.  4.5/10



The Devil is a Woman (Josef von Sternberg, 1935)
The last in six von Sternberg Dietrich collaborations and not my favourite, I believe. Dietrich is great and as 'fatale' as ever but the story is simply too predictable too make this a film in the same league as the masterpiece The Scarlet Empress. 6.5/10

Panic in the Streets (Elia Kazan, 1950)
Think of this as film noir's Contagion. A corpse infected with the pneumonic plague is found in New Orleans. Richard Widmark, as the good guy, is desperate to find the killer and whoever else may be infected before the disease spreads. Suspenseful, but average. I like Richard Widmark as a doctor, but I like him better in a villain role. 7.5/10

Week 2 in film

The Wolf of Wall Street (Martin Scorsese, 2013)
Excited, a new Scorsese! And yes, it is a good one. Think of Goodfellas but then for the 'modern mafia'. DiCaprio is great as Jordan Belfort whose fast tongue makes him rich in no time giving him everything he wants. Women, a boat, a massive house and drugs, a lot of drugs. Scorsese turns this story in a crazy ride for the first two hours, the last hour was a bit too 'risen star falling' which we've seen so many times before. Some criticize this film for glorifying superficiality. I believe the final scene tells us the opposite. Not a masterpiece but a welcome addition in Scorsese's impressive oeuvre. And how great are Jonah Hill and Matthew McConaughey ("Do you jerk off?").  8/10



My Darling Clementine (John Ford, 1946)
So far I am not that impressed with John Ford his films. This one, about Wyatt Earp, is not bad at all but feels a bit by the numbers. Can't see how this should be one of the finest westerns ever.  7/10

Short Term 12 (Destin Cretton, 2013)
Missed this in 2013 but it would definitely have made my year's top 10. A very honest and gripping story about two adult foster children who are working in a shelter for teens who have problems at home or with themselves. Impressive to see how they manage to take on such a hard job after their own troubled youth especially when they are challenged the most. For Grace (Brie Larson) things become too much when a young girl with a resembling background walks in. The kind of film that makes you feel sympathy for its characters instantly.  8.5/10

Basic Instinct (Paul Verhoeven, 1992)
One of my all-time favorites. Probably the most entertaining and best Hitchcock-imitation I can think of. Has everything that could be great in 90's film: suspense, snappy one-liners, a twist (gave me the chills even for the 100th time...) and perhaps the best modern femme fatale imaginable. Love Sharon Stone, love Michael Douglas, love the genius Paul Verhoeven for his cynical and controversial contributions to Hollywood.  9/10


Kim Novak, anyone?

Le temps qui reste (Francois Ozon, 2005)
Ozon is one of those directors that never makes a bad film, he also never makes a great film (maybe Swimming Pool, i'll have to watch it again....). This one is on the bottom I would say. The story, about a gay photographer in his 30s diagnosed with terminal cancer, sounds promising but Ozon makes it a bit of a drag with some improbabilities regarding sexuality and sexual favours (or maybe they are typically French, I don't know). Despite some sad and potentially heartbreaking notions not very memorable. 6/10

Bulletproof (Ernest R. Dickerson, 1996)
Sandler was really funny in some of his films in the nineties. He disappoints as an 'action hero' as attempted in this film. 4.5/10

Carnal Knowledge (Mike Nichols, 1971)
I am surprised that this film isn't better known in the oeuvre of Mike Nichols. Nicholson is convincing as a sexual conquerer together with his friend, played by Art Garfunkel. Effectively shows the flipside of the sexual revolution by portraying the Nicholson character as someone who sees women as objects, physically desirable but as a potential threat to his freedom. 7.5/10

Week 1 in film

Witness for the Prosecution (Billy Wilder, 1957)
Best film I saw this week but I am a sucker for courtroom drama's and whodunnits. You've got to love Charles Laughton and Marlene Dietrich.
"I am constantly surprised that women's hats do not provoke more murders."  8.5/10



Klute (Alan J. Pakula, 1971)
This 'paranoia' thriller worked for me mostly the first hour thanks to an interesting role and performance by Jane Fonda. Her emotional motivation and involvement with men (and Donald Sutherland) is more interesting than the mystery itself. Succeeds in the 'psychological', but no so much in the 'thriller'. 7.5/10

Ossessione (Luchino Visconti, 1943)
Coincidentally, a comparable experience to Klute. The psychological depth between the characters is done very well, but the crime (the cheating wife killing the husband with help of her lover) isn't done that well. Has the vibrant atmosphere of film noir versus Italian neo-realism. 7/10

Primary Colors (Mike Nichols, 1998)
Apparently Bill Clinton liked this film and Travolta's performance which makes you wonder about the former president who doesn't come off as very upright. Not the best film about presidential elections and the political games involved. Does have great performances. 7/10

The Wicker Man (Neil LaBute, 2006)
Not the bees, not the bees! Notoriously unintentionally funny. Cage in a bear suit kicking and hitting women. Funny, but one of the worst movies you will see. 2/10

The Manchurian Candidate (John Frankenheimer, 1962)
A political thriller that could have been great, but the directing lacks focus and the storytelling is somewhat chaotic. Frankenheimers style worked well in Seconds, but this film is too tedious at times. The ending is probably a good illustration, directed by the numbers and not bad, but its predictability diminished the experience for me.  6.5/10

Metropolis (Fritz Lang, 1927)
Somehow I don't watch too many silent pictures. They don't appeal to me, which is a shame, because there are without doubt a number of great films made in the silent era, Metropolis being one of them. I'll keep pushing myself, who knows i'll become a fan one day.  8/10



La pianiste (Michael Haneke, 2001)
Started off with a great character and story built up. Isabelle Huppert fascinated me for at least 3/4th of the film. I am not too happy or fulfilled about the ending. Left me a bit disappointed. Haneke did manage to make me think about the sick sides of the 'intelligent' human race. 7.5/10

Fruitvale Station (Ryan Coogler, 2013)
Based on the real tragic events in 2009. Yes, dramatic, but this film overdoes it. Has Oprah Winfrey written all over it. Could have been good in a mozaiek-setup with different perspectives. Now it is a moralising exercise in tearjerking without any artistic value, one or two good acting performances aside. 4.5/10

The Secret Life of Walter Mitty (Ben Stiller, 2013)
Don't let this film fool you, the adventurous 'Into the Wild' settings can't disguise that this is an ordinary Hollywood-formula-product. Contains all the one-dimensional characters you expect. Stiller is annoying and glorifying himself. Never surprising or original.  3.5/10