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
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
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