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 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 20 in film

Norwegian Wood (Anh Hung Tran, 2010)
What I remember best is the music by Jonny Greenwood and the Beatles. The rest of the film is, although on occassions beautifully shot, forgettable. The second hour is too dull in its narrative, where the first managed too grab me at times. Too bad.   6.5/10



All God's Children Can Dance (Robert Logevall, 2007)
Boy is told to be the son of God. When he is an adult he sees a guy with a weird ear, who he believes could be his father. Feels a bit like a Wim Wenders film, it certainly isn't. Ends up being an empty shell.   3/10

The Bitter Tea of General Yen (Frank Capra, 1933)
Un-Capra like story of a woman (the great Barbara Stanwyck) who is kidnapped by a Chinese dictator. Pretty racist to have a Chinaman played by an American actor.    7.5/10

Headhunters (Morten Tyldum, 2011)
This film about an art-thief is about a lot except the theft of art. Lots of improbabilities. Not everything from Scandinavia can be a success   5.5/10

The Tree of Life (Terrence Malick, 2011)
With a new film from Malick upcoming I had to re-watch his masterpiece again. It overwhelmed me even more than before this time. Goosebumps on multiple occassions, especially during the first hour. The editing is superb, pure poetry. Very hard, almost impossible for To The Wonder to live up to my expectations.   10/10



True Grit (Coen Brothers, 2010)
Good old 'the dude' Jeff Bridges delivers a good performance again. Entertaining, witty and probably better than the original, which I haven't seen. Not the best and not the worst Coen-film.   7.5/10

Izgnanie [The Banishment] (Andrei Zvyagintsev, 2007)
Russian cinema almost never disappoints me. This dense picture has a slow pace, as we know from this director and it is beautifully crafted. Clearly quotes Tarkovsky, almost even literally. Is this a bad thing? Not at all.   8.5/10

The Lost Weekend (Billy Wilder, 1945)
Disappointing 'classic' from one of my favorite directors. The acting is great, but somehow the plot isn't moving forward and keeps repeating itself. Perhaps this is the point, but how to explain the un-Wilder-like ending? No, I expected better.   6.5/10



The Killer (John Woo, 1989)
Great action from Hong Kong. Woo would never deliver this kind of quality in Hollywood. Not even with Face/Off. Chow Yun Fat is supersolid. A film with 'the usual' friendship, snipers and one-bullet-left situations.  7.5/10

Week 18 in film

Ok, a decent selection of my filmweek:

Il grido (Michelangelo Antonioni, 1957)
Man gets dumped by his girlfriend and starts tramping into a handful of different lovers. Feels way too straightforward for an Antonioni, not too bad though.   7.5/10

Serpico (Sidney Lumet, 1973)
Solid Pacino. Solid Lumet. Not as good as the later collaboration Dog Day Afternoon. Breathes the comforting and rich atmosphere of the cinema of the seventies.   7.5/10



Repulsion (Roman Polanski, 1965)
First film out of Polanski's apartment trilogy. Catherine Deneuve is as beautiful as dangerous in this 'descend into madness' horror. A film that proved to be very influential in later decades and combines the best of nouvelle vague and horror. Probably the darkest film out of the three (others being The Tenant and Rosemary's Baby). I enjoyed all three of them but Mia Farrow giving birth to Satan's baby still ranks best.   8/10

Force of Evil (Abraham Polonsky, 1948)
Capitalism cannot be good for the world. This notion was already clear in the 40's. At least according to this noir, which feels a bit too short.   7/10

Cellular (David R. Ellis, 2004)
Not even William H. Macy can save this crappy film...or can he?   3.5/10

Rushmore (Wes Anderson, 1998)
Second viewing of this early Anderson which is just about as fun as Moonrise Kingdom. Extremely light and entertaining. Bill Murray rocks as always!   8/10

Miller's Crossing (Coen Brothers, 1990)
As much as I like most of the Coen films this one never really grabbed me. Not a bad film, a lot of talking, neo-noir, not sure what turned me off. Gabriel Byrne perhaps?   6/10