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 

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