Breath of Life - A2P Cinema Blog

Films of 2011

2011-12-31T07:24:00.000-05:00

A2P CINEMA'S FILMS OF 2011

Here is A2P Cinema's annual Year in Films list. I'm not a film critic or much of a writer… just a fan of world cinema. Every year I share some general thoughts on the films released theatrically that year. There are still some notable films to see and the list will be updated throughout January. My intention is not to discourage the viewing of any film, but rather to share and spread the joy and beauty films can provide (as both an art form and source of entertainment). Please share any thoughts, opinions, or additional recommendations you may have.

>> go here to see A2P CINEMA'S FILMS OF 2011

Films of 2011 (First Half)

2011-06-17T07:02:00.001-04:00

Go here to see A2P CINEMA’S FILMS OF 2011 FIRST HALF

Hideko Takamine (1924 - 2010)

2010-12-30T21:48:00.003-05:00

This week, the world lost one of its all-time greatest actresses...

Hideko Takamine

"I hated climbing those steps more then anything, but once I'm up, I can take whatever happens." ~ Hideko Takamine's Keiko from When a Woman Ascends the Stairs (1960, Mikio Naruse)

http://search.japantimes.co.jp/cgi-bin/nn20110101a3.html

Films of 2010 (First-Half)

2010-06-29T22:12:00.004-04:00

As the year reaches it's midpoint, A2P Cinema explores some personal favorite films during the first-half of 2010. Unfortunately I was not able to see any of these early favorites more then once. Some repeat viewings will be a priority before the end of the year. Also, there were obviously some films I did not get to see yet, as well as some exciting films soon to be released.

>> GO HERE TO SEE FAVORITE FILMS OF 2010 FIRST HALF

Canon of 300 Films

2010-05-09T22:31:00.003-04:00

The A2P Cinema Canon of 300 Films is comprised of personal selections as the definitive films throughout the world of cinema. The list is not exactly of 300 greatest or even 300 favorite films of all-time, as it will be limited to the difficult task of including only one film per director. The exact ordering of the list can be taken with a grain of salt as they can easily be numbered anywhere. However, to keep the list entertaining, or at least more interesting, they will be arranged from 1 to 300.

To me, each of these films are beautiful, transcendent, and inspiring in their own unique way. As definitive favorites, these are the films I personally think of when I think about films and filmmakers. Obviously limiting one per director, as well as the fact that I most likely have some great films that unfortunately have yet to been viewed at this point, makes this list only a tentative one at best. But really that is true of all lists. They are basically meaningless or silly and do not capture the essence of any film. However, if a list has the power to recognize and celebrate these films, it can certainly be something to embrace, because all is good if they can encourage the viewing of great films… Truly one of the timeless joys of the world!

A2P Cinema Recommends

2010-04-21T07:22:00.000-04:00

SUMMER HOURS
Director: Olivier Assayas
2008 - France - 1hr 39min - color

If you are looking for a DVD / Blu-Ray film... this past week Criterion Collection released Olivier Assayas's lovely SUMMER HOURS. I personally believe it to be the best French film of the past decade and already one of the great films of all-time (or at least among my personal favorites).

Ozu-san.com on Twitter

2010-01-21T06:52:00.000-05:00

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FILMS OF 2009

2010-01-05T07:02:00.006-05:00

The decade concluded with another great year for films throughout the world. Among the notable highlights of the year was female filmmakers Kathryn Bigelow (The Hurt Locker), Jane Campion (Bright Star) and Claire Denis (35 Shots of Rum) all returning to a master-level of filmmaker. Spike Jonze (Where the Wild Things Are) and Wes Anderson (Fantastic Mr. Fox) both gave classic children novels their unique auteur signatures. With a masterful throwback film (The House of the Devil) Ti West proved to be the future master for contemporary horror cinema. Sion Sono (Love Exposure) took his bizarre originality to new depths. Richard Kelly (The Box) and Jody Hill (Observe and Report) proved bold originality can still be made in mainstream Hollywood films. Diablo Cody (Jennifer’s Body) and Judd Apatow (Funny People) took their filmmaking toward a new level of maturity. Pedro Almodovar (Broken Embraces) continued to prove the camera loves the star-power of his muse Penelope Cruz. Sam Raimi (Drag Me To Hell) blended humor, action, and horror with the effortlessly and invention of the Evil Dead films. Quentin Tarantino (Inglourious Basterds) acknowledged his own obsessions with violence and the impact of films with what very well may be his masterpiece.

These were just some of the notables in the year of films, but one constant trend that may define the year is animation filmmaking (of all kind) has reached its golden era – lead by Henry Selick’s pinnacle achievement in stop animation (Coraline). The always reliable Pixar reached new profound heights with what is their most lovely and touching and quite possibly best film (Up). Wes Anderson brought his patent visual style into stop-animation (Fantastic Mr. Fox). Mamoru Oshii took his anime to philosophical depths (The Sky Crawlers). Nina Paley proved the simplicity and creative charm of independent animation filmmaking (Nina Sings the Blues). Not to mention better-then-usual Hollywood animated fare, proving Pixar has raised the bar for other studios (Cloudy with a Chance of Meatballs, Monsters vs Aliens). I guess it is surprising and upsetting then that in a year of such wonderful animation, perhaps the greatest animated filmmaker of all – Japan’s Hayao Miyazaki – made the most uninspiring film of his amazing career (Ponyo), though the film is still beautiful on a level of visual animation.

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2009 YEAR IN FILMS

100 FILMS OF THE AUGHTS

2009-09-11T23:13:00.000-04:00

A2P CINEMA'S 100 FILMS OF THE AUGHTS
www.a2pcinema.com/aughts

A few years ago I created a detailed Filmmakers Database which included a list and description of my 122 favorite directors.

Now with the decade nearing an end I wanted to do A2P Cinema's 100 Films of the Aughts (also known as the decade 2000-2009).

I will occasionally add new films to A2P Cinema's 100 Films of the Aughts website. The list will start at #100 and gradually work up to #1 barring in mind that the actual order should be taken lightly.

Please feel free to add your comments or even take part by sharing your own favorite films of the decade.

For Your Consideration 2009 Campaign - Best Supporting Actress

2009-08-23T07:41:00.003-04:00

RECALLING MYRNA LOY WITH MARION COTILLARD
In Public Enemies

There is a minor yet telling little moment in the climax of Public Enemies (Michael Mann’s art-house / action gangster hybrid) when John Dillinger (played by Johnny Depp) is sitting in the movie theater watching Manhattan Melodrama. There are layers at work here as Public Enemies is loosely documenting the true story of Dillinger’s capture outside the theater on July 22, 1934 while giving a rare glimpse into Dillinger.

Of course the film Dillinger is watching also shares some parallels with his own life, and as we observe Depp watching the film it becomes obvious he believes he is in many ways watching his life play out on screen. Enter beloved 1930s Hollywood actress Myrna Loy, who in Manhattan Melodrama is stuck in the middle of a love triangle between feuding friends William Powell and Clark Gable. When Dillinger sees her face he lights up because in her he sees his own love Billie Frechette (played by French actress Marion Cotillard). Credit to Michael Mann’s direction and Depp’s performance for making this moment one of reflection into Dillinger’s consciousness. However this reflective glimpse is relevant because of what Cotillard had given the film leading up to that point. She provided Dillinger with the love and integrity that makes this scene work emotionally.

One can easily confuse Loy for Cotillard and not only because of their radiant beauty. First to understand Loy’s on-screen persona which was the image of “The Perfect Wife” a title she was often referred by in the 1930s/40s. This perfect wife screen persona was comparable to that of John Wayne as the American hero. Loy’s presence alone on screen conveyed this image of the quintessential loving wife.

Cotillard is one of the very great actresses of her generation, and I’ve felt this long before she won the Academy Award for La vie en rose (2007). While with Public Enemies she is only given small screen time, her presence is felt throughout, and her moments on-screen are the most lasting highlights of the entire film. It is mostly what she conveys through her eyes (something that has always been a standout for Cotillard). You see her eyes and you first appreciate how beautiful she is before you quickly realize the emotional depth they are expressing. Perhaps above all else in Public Enemies it is a toughness even in the most vulnerable of realities. In the traditional Michael Mann female role (think Ashley Judd in Heat, Gong Li in Miami Vice or Madeleine Stowe and Jodhi May in The Last of the Mohicans), Billie is an intense survivor and Cotillard transcendently captures this with the most subtle eye glances and gestures.

Among the most remarkable scenes of the film is a powerful interrogation scene. Billie ambitiously refuses to give in to the abuse or the odds. This is such an unforgettable scene that works almost entirely because of Cotillard and her unrelenting love and strength. This is again reflected in the films touching final scene, which ascends to the ranks of classic film moments. Cotillard barely speaks but it is the most moving moment of the film (credit to Stephen Lang for his very fine performance alongside Cotillard). For the first time in the film her emotions become vulnerable but even through this her eyes reflect the dignity of a true and noble survivor. It is both heartbreaking and inspirational.

So in the climax of Public Enemies we understand seeing Dillinger smiling when watching Manhattan Melodrama while thinking to himself that this “escapist dream” is his reality. And from what we know of Billie through Cotillard’s pitch-perfect performance – Myrna Loy belongs to him!

For Your Consideration 2009 Campaign - Best Actor

2009-08-16T07:20:00.001-04:00

AMBIGUITY IN TWO LOVERS:
a closer look at the layered performance of Joaquin Phoenix

In October 2008 Joaquin Phoenix surprised and confused everyone by announcing he was leaving acting for good to pursue a career as a hip-hop musician. A few months later he went in front of a nationally televised audience on the Late Show with David Letterman where he was unresponsive towards Letterman's questions about the film and his acting career. The backlash of this (which many insist to be some form of a performance-art hoax, while others believe it is the call of a man on the verge of a breakdown) ultimately reflected negatively on Phoenix’s potentially final film, Two Lovers. The film was a major box office disappointment and was critically mixed, leaving cynics an easy chance to make cheap jokes and catch phrases at Phoenix’s expense.

Most unfortunate is what is being overlooked for cheap tabloid news. Two Lovers is not only a great film (from talented young filmmaker James Gray) but it is also a career-best performance for Phoenix, an actor that has already had a successful and diverse career (with notable performances in To Die For, Quills, Reservation Road, as well as two Academy Award nominations for Walk the Line and Gladiator, and also Gray’s previous two films We Own the Night and The Yards).

Two Lovers is a film that is personal, detailed and uniquely original in its own way. It is complex in dealing with issues of love, obsession and loneliness. Phoenix perfectly taps into the layers of his characters sense of longing, obsession and loneliness. We are immersed into the emotion from the gloomy opening sequence, in which Phoenix’s character (Leonard) considers a suicide.

What transcends the performance is the authentic execution, avoiding the easy route of self-absorbed young man longing for love. This film is more complex, and the complexities emerge from the layered performance of Phoenix. With his character (like James Dean in Rebel Without a Cause or Heath Ledger in Brokeback Mountain for examples), there is an inner-struggle that is exteriorly masked and only evident in subtle moments of the performance.

Take for instance a scene when Leonard is to meet Michelle (Gwyneth Paltrow) and her lover/married-man Ronald (Elias Koteas). Leonard is sitting alone waiting for them in an expensive New York restaurant. This is a world completely foreign to him. He is lonely and lost yet externally he tries to appear as though he fits in (by checking his cell phone as if he has calls and ordering a high-class drink Michelle told him about earlier). It is the performance of Phoenix and the subtle gestures which takes you emotionally into the moment and the character. Phoenix is again brilliant in the final scenes (which I will not reveal for those yet to see the film). His complex emotions give Two Lovers an ambiguity that can be seen as sad, bittersweet or hopeful all at once.

For Your Consideration 2009 Campaign - Best Director

2009-07-20T07:45:00.001-04:00

KATHRYN BIGELOW’S THE HURT LOCKER:
Evoking Howard Hawks and Classic Hollywood

Every few years there are some American films that recall the traditions of the old-fashioned Hollywood studio days auteurs such as John Ford, Alfred Hitchcock, William Wyler, Frank Capra, and of course Howard Hawks. Paul Thomas Anderson’s 2007 film There Will Be Blood showed a vast influence of Hollywood studio influence from the silent era to Orson Welles and Stanley Kubrick; Woody’s Allen move to England with Match Point in 2005 brought him closer to Hitchcock; 2004’s Million Dollar Baby re-imagined the film noir in a heartbreaking modern tale; Michael Clayton (2007) and Rachel Getting Married (2008) each echoed the sprit of the 1970s in different cinematic styles.

Now arrives Kathryn Bigelow’s Iraq-war based film The Hurt Locker, which may evoke the old fashioned Hollywood studio filmmaking with more assurance then any film released in the past decade. Long underrated as a gifted filmmaker, lets hope this film earns Bigelow the recognition she so fully deserves. Bigelow has made some fine films but with The Hurt Locker she is at her artistic peak –particularly because of the complete control she possesses over the filmmaking.

She places emphasis of aesthetics over politics or messages. She finds the sensibilities few war films capture, notably in honest characterization. Above all, this is the characters of the film – not what they do in the face of battle and pressure, but how they do it. It is this understanding that considers Bigelow a modern Howard Hawks – a master not only of narrative rhythm, but also of character and of action, and most specifically a master of showing without telling. Hawks and Bigelow have the awareness not to lose sight of the narrative flow or of the characters.

One of Bigelow’s long occurring themes as filmmaker has been men placed in the face of high-pressure situations. As Sergeant William James, actor Jeremy Renner perfectly defines the essential Hawksian hero who is at his best when doing his job. His courage comes from a calm acceptance and understanding of fear and pressure. It is how he does his job that will define whether or not he lives or dies and this is where Bigelow’s interest lies. It is the suggestive scene in which we observe William away from severe duties (at home in the supermarket) that we see him perplexed to make decisions. His place is in the “kill zone” for as the films opening quotation observes: “The rush of battle is often a lethal and potent addiction, for war is a drug.”

As a film The Hurt Locker is a simply a flawless and original achievement in tense action cinema. It is a full experience of senses both for its stillness and its harrowingly intense ferocity. It is truly a joy to see films like this still being made today.

20 Favorite Films of 2009 (as of June)

2009-06-22T06:48:00.005-04:00

With the year halfway through I'd like to look back at my favorite films thus far. There are some releases I still need to see. Also some of these films might technically be considered from 2008, but I'm including them if they had a theatrical United States release in 2009....

You can download a PDF of this list here.

1… STILL WALKING
Hirokazu Koreeda, Japan

Hirokazku Koreeda is easily among my favorite current filmmakers mostly in the simplistic ways he captures the little moments. This is probably Koreeda’s best film since his 1998 After Life which I’d consider among my all-time favorite films. Still Walking understands the dynamics of the family, removing the layers to reveal lingering regrets caused from unresolved differences and bitterness. The film is a personal reflection for Koreeda yet the universal qualities make it so touching, funny, and honest. It is more sentimental then Ozu or Naruse but belongs mention in that class, for the gentle and subtle approach that few filmmakers can master with such effortlessness. A masterpiece!

2… CORALINE
Henry Selick, United States

While all the animated and Disney films getting released seem to be using this new 3D technology as a money-making gimmick it is refreshing to see 3D used this beautifully and masterfully. Coraline doesn’t rely on gimmicks but rather visual and character-driven storytelling. This is an animated film for adults first and kids second. There are psychological subtexts and artistry that make the film far more worthy then just a charming “kids cartoon”. Coraline is masterfully directed by Henry Selick proving Nightmare Before Christmas was more then just Tim Burton’s vision. The imagination and wonder of this film (both for its realism and fantasy) establishes Selick among the very top of stop-animation filmmaking, and one of the great visionaries of contemporary cinema. I can not praise this film enough except to say that it is perfect in its own methods. This is the artistic peak of stop-animation filmmaking and really must be seen at a theater in 3D!!

3… UP
Pete Docter, United States

Profound… Pixar has reached a Hayao Miyazaki level of animation cinema! Perhaps more then any other Pixar film its philosophy is not told, rather it is shown through concentrated, precise and poetic images and sounds. As great of an achievement their previous film (Wall E) is I think Up is superior because there are no contrived elements to it (something that I think Wall E slightly falls into in the second half). While Brad Bird is perhaps Pixar’s auteur, John Lasseter its founder, and Andrew Stanton its crowd-pleaser, Pete Docter is probably the best fit and most defining of the studios directors. Beautifully moving and heartwarming from the touching opening sequences to the lovely closing shots.

4… MY DEAR ENEMY
Li Yoon-ki, South Korea

I saw this 2008 Korean release at this years Philadelphia Film Festival. It is wonderfully smart and charming for its compassionate manner. Jean Do-yean follows up her powerful Cannes winning performance from 2007’s Secret Sunshine with another excellent performance sharing pitch perfect chemistry with Ha Jung-woo. There is a sophisticated wit to the humor and the details that give this film an old-fashioned appeal. There is some hilarious moments of humor to the film as well as some insightful subtexts without ever being forced or overdone in any way. Lee Yoon-ki’s previous film (Ad Lib Night) took as similar approach but even for its gentle nature it was a film that felt emotionless and un-involving. Structured over the period of a day, My Dear Enemy is greatly involving as it takes you along with its terrific lead characters.

5… THE SILENCE OF LORNA
Luc and Jean-Pierre Dardenne, France

Released last year in France The Silence of Lorna won Best Screenplay at the 2008 Cannes Film Festival. It marks the seventh feature film from the Dardenne Brothers. Like the Dardenne previous films this one is rooted in the neorealist roots and Robert Bresson style that has defined their highly acclaimed work. This one is getting less praise mostly because this films resorts to some more conventional genre methods, yet I do not see how this negatively impacts this particular film. Instead I find the thriller aspects of the filmmaking give it a greater sense of complexity and emotional involvement. I still find it to be the work of purist filmmakers and I’d maybe consider this my favorite Dardenne film yet.

6… KABEI: OUR MOTHER
Yoji Yamada, Japan

After the completion of his samurai trilogy (which began with the high acclaimed 2002 Twilight Samurai and concluded in 2007 with Love and Honor) 77-year old Japanese filmmaker Yoji Yamada adapted this family drama set during early World War 2 (notably Japan’s invasion in China). The film, based off the childhood memoirs of Teruyo Nogami, uses the war as backdrop to the films primary focus of its effect on the family. The film is powerfully emotional without sentiment. Yamada’s film is deeply humanist lead by delicate performances from the cast (Sayuri Yoshinaga as Kabei is especially great).

7… TWO LOVERS
James Gray, United States

Nothing inventive but Two Lovers is excellent in the way it is directed and performed. A talented young filmmaker, James Gray has made his first great film – one that is personal, detailed and original in its own way. Joaquin Phoenix perfectly taps into the loneliness and longing of his character giving what I would say is the best performance of his career (and whether or not it is his final appearance is yet to be known, but after seeing how terrific he is here I certainly hope he is not done with acting).

8… GOODBYE SOLO
Ramin Bahrani, United States

I'm still not ready to claim Ramin Bahrani the master everyone else has but I always admire his approach and have liked each film more then the next, with this by far my favorite from him. Here Bahrani recalls his Iranian roots using Abbas Kiarostami's 1997 film A Taste of Cherry as a clear source of influence (both poetically and in narrative). The strength of the film is that Bahrani keeps it simple with his trademark minimalist style not allowing for easy manipulation. This is best expressed in Souleymane Sy Savane charming performance.

9… CHE
Steven Soderbergh, United States / Spain / France

This two-part four-plus hour film was released in LA for Oscar contention last December but I’m including among the 2009 films because of the films wide release in January. It marks one of three films in 2009 from the always productive Steven Soderbergh who when not directing is always producing. Che is certainly the most epic of these films and it is almost entirely centered around the amazing lead performance of Benicio Del Toro who gives an embracing performance as the revolutionary. Soderbergh’s gives the film some experimental approaches (such as the shift in aspect ration in the second half) which create a sense of atmosphere but loose some of the emotional attachment. Even for some flaws, this is an interesting and bold achievement with a remarkable lead performance.

10… REVANCHE
Gotz Spielmann, Austria

Revanche was nominated for an Academy Award in the Best Foreign Language film category but did not receive a theatrical release in the United States until May. Written and directed by Austrian filmmaker Gotz Spielmann, this is a skillful film that blends genres. The film excels in the way it stays simple and thoughtfully controlled on the characters and the setting, allowing the atmosphere and emotions a chance to grow.

11… HUNGER
Steve McQueen, United Kingdom

In his debut feature British visual artist Steve McQueen shows a bold and skillful filmmaking approach in the unconventional methods of storytelling. Centering around the 1981 hunger strike inside Northern Ireland's Maze Prison the film is very dark, depressing and difficult to watch. However the filmmaking is rather interesting particularly in the different ways McQueen experiments with different visual tricks (highlighted by a stunning 17-minute unbroken shot featuring a conversion between features a conversation between Bobby Sands and a Catholic priest).

12… THE LAST HOUSE OF THE LEFT
Dennis Iliadis, United States

A great modern remake! Dennis Iliadis wisely respects Wes Craven's original vision (as Craven did Ingmar Bergman's Virgin Spring) while giving this his own defining tone and suspense. Iliadis’ film is a bit less poetic then Craven’s but it is also less campy. Here the tense tone seems more connected to the home-invasion horror films of recent cinema but the filmmakers (except for the questionably forced ending shot) have a precise and skillful manner in which they create the tension.

13… ALEXANDER THE LAST
Joe Swanberg, United States

I am not sure how much of this or any of Joe Swanberg films are filmmaking art. They either take you in with feeling and mood or they do not. This certainly did more then any previous Swanberg films have for me, particularly with the films unique opening scene (a pretend wedding between two sisters – played by Jess Weixler and Amy Seimetz). As always Swanberg centers on the freedom of the performances and the cast delivers (Jane Adams gives a notable supporting performance as a stage director). Swanberg is not quite in the class of fellow mumblecore filmmaker Andrew Bujalski, but Alexander the Last is his best film to date.

14… TAKEN
Pierre Morel, France

Taken is silly or improbable for sure, but like a John Woo or Brian De Palma film there is also something poetic and rebellious in its single-minded vision. This is something of a trademark for Luc Besson who co-wrote the screenplay for talented young director Pierre Morel (his second feature). The filmmakers understand there world and the morality of it, giving the viewers a fully engaging film experience that has some insight.

15… CHOCOLATE
Prachya Pinkaew, Thailand

Thai director Prachya Pinkaew cleverly self references his own work in this bizarre revenge martial arts film. Here Pinkaew’s internationally popular 2003 film Ong-Bak is used as a frame of reference, with an autistic young girl watching the film repeatedly to learn martial arts from the Tony Jaa, so she can help her ill mother. While not Tony Jaa, JeeJa Yanin does a fine job as the young understudy and as expected the film is at its best during the high-fling action sequences. The film makes great use of set designs and a cheap budget.

16… AWAY WE GO
Sam Mendes, United States / United Kingdom

Maybe not artistically complex, yet like a great pop song this film is beautiful and charming. There is a smugness to the film that I could see turning some people off but I found it enjoyable because (for the most part) the film avoids falling into some of the “quirky indie” traps. The real surprise is that this is quite a change of pace for director Sam Mendes who is really starting to win me over. His films tend to be forceful and ultimately hollow but I liked what he did with Revolutionary Road and here he simplifies even more with this comedy, relying on the performances and the script (also bonus points for a great use of the wonderful Velvet Underground song ‘Oh Sweet Nuthin’).

17… THE GIRLFRIEND EXPERIENCE
Steven Soderbergh, United States

While I admire much of his work I still say that Steven Soderbergh's films always border on pretentious. This one is no different. Its emotional disconnection is intriguing even if the film does not have the depth of its obvious Antonioni influence. Here casting porn star Sasha Grey, Soderbergh avoids making it gimmicky and Grey delivers a convincing performance. Soderbergh keeps the camera at a distance from Grey taking away any sort of intimacy, instead relying on subtle performance and visual composition and spacing.

18… EXPLICIT ILLS
Mark Webber, United States

28-year old actor Mark Webber makes his debut as writer-director with this socially driven but mostly unforced film dealing with poverty in Philadelphia. Shot entirely in South Philadelphia Webber makes great use of location to capture the spirit and tone of the film. The film does have some flaws toward the climax but there is also some moments of poetic filmmaking here, echoing Charles Burnett’s 1977 masterpiece Killer of Sheep. This is not in that class but it is an impressive debut and a fine collaborative effort from all the filmmakers and cast.

19… DONKEY PUNCH
Oliver Blackburn, United Kingdom

Donkey Punch is nothing new but it succeeds because it understands and even embraces genre formula. The pacing and visuals are designed in two halves. The beautiful and bright images and emotions of the early half soon shift to a more gritty and claustrophobic atmosphere as the tension and chaos builds. Flawed for sure (particularly over the climax) I still found the film engrossing for the effective manner in which it incorporates conventions.

20… NANAYOMACHI
Naomi Kawase, Japan / France

Naomi Kawase made an international name for herself with her previous release the award-winning Mourning Forest. A unique filmmaker known for a seamless blend of personal autobiography, documentary and fiction, here she delves into slightly new territory – shooting outside native Japan instead in Thailand and with a cast of Japanese, French, and Thai actors. The story centers around a 30-year old Japanese woman who leaves for Thailand. Recalling some of the second half of Kawase’s previous film that film centers around the forest and the woman’s spiritual journey within the forest where she meets a monk (Jun Murakami), and then a French student (Gregoire Colin). This might be my least favorite Kawase film to date but there is a very good feeling of atmosphere and beauty to the film.

Some other notable films:

THE BROTHERS BLOOM (Rian Johnson, United States)

PHOEBE IN WONDERLAND (Daniel Barnz, United States)

ACHILLES AND THE TORTOISE (Takeshi Kitano, Japan)

THE UNINVITED (Charles and Thomas Guard, United States/Canada)

THE MAN FROM LONDON (Bela Tarr, Hungary / France)

THE OBJECTIVE (Daniel Myrick, United States/Morocco)

HOTEL FOR DOGS (Thor Freudenthal, United States/Germany)

SONG OF SPARROWS (Majid Majidi, Iran)

ADORATION (Atom Egoyan, Canada)

LEMON TREE (Eran Riklis, Israel/Germany/France)

SAUNA (Antti-Jussi Annila, Finland/Czech Republic)

NOTORIOUS (George Tillman Jr., United States)

EASY VIRTUE (Stephan Elliott, United Kingdom /Canada)

LEFT BANK (Pieter Van Hees, Belgium)

SUMMER HOURS (Olivier Assayas, 2008)

2009-05-17T07:54:00.000-04:00

My favorite film of 2008 and probably among my favorite films of all-time, Summer Hours has FINALLY been theatrically released in the United States. The release is limited but if you get a chance to see this film I highly recommend doing so...

Here is what I wrote about the film after first seeing it last year (I have seen it three times since, including at the Philadelphia Film Festival in April):

Fresh off the globalized B-movie genre film Boarding Gate, Olivier Assayas would seem a strange fit for this simplistic three generations family ensemble. Yet Summer Hours is very much the definitive Assayas film and it may very well be his greatest masterwork. In many ways it might be his greatest film because it seems to be a reflection on all of his films and it is made with the touch of a seasoned master with its skillfully simplistic touch, channeling the minimalist style of his influences (notably Hou Hsiao-Hsien, whom Assayas made a documentary about in 1997). Like Hou, Summer Hours finds an eternal truth through its simplicity, but the beauty is that the film is undoubtedly Assayas' right to the lovely final shot. Surprisingly recalling some of his previous film, Assayas here presents us with the global family as a reflection of a passing time. Summer Hours is a film about life and death, memories and heritage. I can't say I saw a film more perfect then this in 2008 and I would rate Summer Hours among the greatest French films in years or really among the greatest films I have EVER seen!!

Favorite Oscar Winners (Lead Actor and Actress)

2009-02-20T23:07:00.003-05:00

Many of my all-time favorite performances (even in American cinema) did not win the Oscar but here are my top 10 favorites winners...

TOP 10 FAVORITE LEAD ACTOR OSCAR WINNERS

1. Robert Duvall – Tender Mercies (1983)
2. Ernest Borgnine – Marty (1955)
3. Alec Guinness – The Bridge on the River Kwai (1957)
4. Clark Gable – It Happened One Night (1934)
5. Robert Deniro – Raging Bull (1980)
6. James Cagney – Yankee Doodle Dandy (1942)
7. Peter Finch – Network (1976)
8. Jack Nicholson – One Flew Over the Cuckoo's Nest (1975)
9. Daniel Day Lewis – There Will Be Blood (2007)
10. Gary Cooper - High Noon (1952)

TOP 10 FAVORITE LEAD ACTRESS OSCAR WINNERS

1. Janet Gaynor – Sunrise / Seventh Heaven / Street Angel (1927)
2. Hilary Swank – Million Dollar Baby (2004)
3. Bette Davis – Jezebel (1938)
4. Diane Keaton – Annie Hall (1977)
5. Joan Crawford – Mildred Pierce (1945)
6. Meryl Streep – Sophie’s Choice (1982)
7. Claudette Colbert – It Happened One Night (1934)
8. Frances McDormand – Fargo (1996)
9. Viven Leigh – A Streetcar Named Desire (1951)
10. Holly Hunter – The Piano (1993)

* An upset win by Anne Hathaway (Rachel Getting Married) on Sunday would easily move towards the top of the list... perhaps as high as #2!!!

Six Great Performances Worth Considering

2009-01-17T08:20:00.003-05:00

There are many different awards and prizes handed out leading up to the Oscars in February. When you look over these winners it starts to become repetitive, almost as if all the year-end award circuits try to "predict" the Oscar nominees and winners rather then thinking outside the box and spreading the love for a variety of films.

I saw over 160 films from 2008 and I can honestly say many of them have award potential in some form or another, but when you see the winners during the award season it is as if there were only 5-10 films made every year, and nearly all of them in December.

Why this is I do not understand, but as an alternative to the group thinking I present six performances worth considering as the Oscar nominations get announced this Thursday. Here are six great performances that will be overlooked during the award season but for my money are easily among the best I've seen this year…

CHIWETEL EJIOFOR
Best Leading Actor - Redbelt

Under the skillful direction of writer-director David Mamet, Chiwetel Ejiofor gives one of the very best performances of the year, as Mike Terry, an honorable martial arts instructor whose financial problems force him against his will to fight in a hyped-up TV match. There are no big "Oscar" moments, Ejiofor simply provides a truth to this role that transcends external performance.

MICHELLE WILLIAMS
Best Leading Actress - Wendy and Lucy

Michelle Williams is nothing short of superb as a vulnerable woman caught in the devastating realities of poverty in American society. To see Williams and her joy, hope, sadness, fears, and uncertainty effortlessly converge without sentiment in the final moments is truly a masterful performance in a beautiful and heartbreaking film!

ASIA ARGENTO
Best Leading Actress - The Last Mistress or Boarding Gate

Under the direction of Catherine Breillat in The Last Mistress, Asia Argento was given the freedom to let out her fierce intensity with a dazzlingly wicked performance. With Boarding Gate, Argento found the perfect collaborator in Olivier Assayas who allows her to carry the film. Both performances define Argento strengths as a commanding screen presence, shaping the rhythm and intensity of the films.

PENELOPE CRUZ
Best Leading Actress - Elegy

Penelope Cruz is still overdue the Oscar from her performance in Volver and she may very likely take home the award this year for Best Supporting Actress in Woody Allen's Vicky Christina Barcelona. However, her lead performance in Elegy is far superior, instead relying on complex depth rather then the symbolic character she plays in Vicky Christina Barcelona.

STEVE COOGAN
Best Leading Actor - Hamlet 2

Always one of the great comedian actors in British cinema, Steve Coogan really shines in a rare American lead role. The film is kind of silly but completely enthralling because of Coogan's lively performance which carries the entire film. Sadly comedy is not regarded as serious award-worthy but there few better performances this year then Coogan's.

PATRICIA CLARKSON
Best Supporting Actress - Elegy

Patricia Clarkson has long been overdue her respects among the great actresses of contemporary American film. Playing a small supporting role in Elegy, Clarkson is memorable and moving in that she makes her character authentically alive with feelings of pain and betrayal.

The Films of 2008 (part 2)

2009-01-09T22:54:00.003-05:00

Earlier this week I posted a film-by-film summary of the entire Year in Films. Now I’d like to individualize the year in films with my Best of 2008. This will include the usual award categories (Best Director, Best Original Score, etc) as well as some fun alternate categories (such as Best Ensemble Cast, Best Fight, Best Sex Scene, Best Performance by a Dog, among many others).

Please take the time to look it over and feel free to share any comments, questions or recommendations you may have!

>> GO HERE TO VIEW THE BEST OF 2008

The Films of 2008

2009-01-05T22:17:00.005-05:00

Looking over the year of films several trends seem to surface. One of the most prominent (though offered in different forms) was the theme of globalization and its potentially disastrous effects on contemporary society (as in Wall-E or 24 City), nature (The Unforeseen), business (Boarding Gate), economics (Slumdog Millionaire), or even the family (Summer Hours).

One other trend I noticed looking over the year in films was re-imagining. Some films re-imagined genres (Let the Right One In, Pineapple Express, Boarding Gate), others re-imagined films (Flight of the Red Balloon, Love Songs) and some filmmakers re-imagined other filmmakers (Rachel Getting Married) while some did so while also re-imagining themselves (Summer Hours, Tokyo Sonata, Happy-Go-Lucky, Gran Torino, Go Go Tales).

It was an especially great year for female performances (notably Anne Hathaway, Sally Hawkins, Asia Argento, Penelope Cruz, Riko Narumi, Kristen Scott Thomas, Patricia Clarkson, Juliette Binoche, Keira Knightley, Meryl Streep, Rosemary DeWitt, etc) and we saw two great “swan-song” performances by legendary actors of separate generations (Clint Eastwood and Heath Ledger).

2008 may not have had as many great or “masterpiece” films as recent years, but there were plenty to enjoy, and I don’t know if I’ve seen a better French film this decade then Olivier Assayas’ perfect Summer Hours, my favorite film of 2008.

Of course we also saw the refreshing return of Jonathan Demme’s hopeful humanity (Rachel Getting Married), a poetic and touching vampire love story (Let the Right One In), a Zen-like high school film (How To Become Myself), an unforgettable character living life “in the moment” (Sally Hawkins’ Poppy in Happy-Go-Lucky), a meditative journey through America via trains (RR), an irresistible sci-fi love story with robots (Wall-E), a screwball comedy in a strip club (Go Go Tales), another film from the worlds greatest living master (Hou Hsiao-hsien’s Flight of the Red Balloon), more fierce intensity from Asia Argento (in The Last Mistress, Boarding Gate and Go Go Tales), an imaginative celebration of togetherness and creativity (Be Kind Rewind), among many other wonderful joys from another great year in films!!

>>> GO HERE TO SEE THE A2P CINEMA YEAR IN FILMS

Carole Lombard - 100 Years!!

2008-10-06T00:42:00.005-04:00

CAROLE LOMBARD:
MARVELOUS GIRL. CRAZY AS A BEDBUG

The title comes from a quote by the great director Howard Hawks when asked about Carole Lombard. Well known for a foul mouth, playful sprit, and truly generous heart, Lombard earned the nickname “Profane Angel”.

October 6th 2008 will mark the 100th birthday of Carole Lombard. Decades have passed since her tragic death, yet her legacy has stood the test of time to remain as fresh as ever especially for those longing for the old magic of the now lost (or at least less inspiring) screwball comedy genre.

There is something to be said about first encountering one of Lombard’s definitive films, and for my money that would be nearly anything she made from 1934-1946. She was the essential actress of the screwball comedy, and she was without the cynicism or upper-class snobbery most common of the other great actresses of the genre (think Barbara Stanwyck, Jean Arthur, Irene Dunne, Katharine Hepburn, or even the wonderful Kay Francis). Not that Lombard couldn’t pull this off (see 1935’s Hands Across the Table), but it did not fit her perhaps because it was too easy. Lombard had a unique quality. One that made her incomparable. A combination of beauty, zany humor, pitch perfect comedic timing, witty intelligence and lively spirit, Lombard radiated natural and timeless star quality.

Her career reached new heights when Howard Hawks gave Lombard the freedom to shine her wonderful screwball talents in the classic 1934 comedy Twentieth Century. From there she went on to do some of the most memorable comedies of the 1930s, most notably the screwball masterpieces My Man Godfrey (1936) and Nothing Sacred (1937).

Lombard even convinced the “Master of Suspense” himself (Alfred Hitchcock) to direct Mr and Mrs Smith- his first (and only) screwball comedy, which he agreed to only if she would star. Now at the peak of her career, Lombard’s next film (To Be Or Not To Be- for legendary director Ernst Lubitsch) was sadly her last, as she died in a plane crash shortly after filming completed.

That has and never will be another one quite like her. Both as an actress and as a woman Lombard’s lasting memory remains. She was loved and respected by all those that knew her. The quintessential queen off the screwball comedy, Carole Lombard was a genuine persona and truly a genuine star!

"She brought great joy to all who knew her and to millions who knew her only as a great artist. She gave unselfishly of time and talent to serve her government in peace and war. She loved her country. She is and always will be a star, one we shall never forget, nor cease to be grateful to." - Franklin D. Roosevelt

www.ProfaneAngel.com

JUN ICHIKAWA (1948-2008)

2008-09-19T07:27:00.000-04:00

Jun Ichikawa, one of my favorite filmmakers died today at the age of 59. He is responsible for several of my favorite films of the past 10 years (Tokyo Marigold, The Tokyo Siblings, Tony Takitani, and my favorite film of 2008 so far How to Become Myself).

As a filmmaker, Ichikawa had the touch of a Zen master, recalling the genius of Ozu with his minimalist style. He will be greatly missed…

A2P Cinema -- Website Reconstruction

2008-09-01T23:02:00.001-04:00

A2P Cinema has been revamped to a simpler format. For the time being the site will only contain top 10 lists for every year. In time the film summaries and pictures will return, along with the hope of a larger database of films (perhaps 20-30 for each year). Please be patient as the website, much like others within the A2P Cinema network (Ozu-san, Profane Angel, In the Mood for Images), will hopefully improve soon.

Remembering Aaliyah

2008-08-25T00:04:00.000-04:00

Seven years ago (August 25th 2001), Aaliyah Dana Haughton’s life tragically ended at the age of 22. We still miss you Baby Girl…

“Baby girl

Better known as Aaliyah

Give me goose bumps and high hot feet

Make the playa haters believers…”

Cannon of 250 Films - #78-70

2008-08-17T23:59:00.001-04:00

www.a2pcinema.com/canon

78… VENGEANCE IS MINE
1979 - Shohei Imamura - Japan
www.a2pcinema.com/canon/films/78.htm

77… LEAVE HER TO HEAVEN
1945 - John M. Stahl - United States
www.a2pcinema.com/canon/films/77.htm

76… ANNIE HALL
1977 - Woody Allen - United States
www.a2pcinema.com/canon/films/76.htm

75… GREED
1924 - Erich von Stroheim - United States
www.a2pcinema.com/canon/films/75.htm

74… SHOOT THE PIANO PLAYER
1960 - Francois Truffaut - France
www.a2pcinema.com/canon/films/74.htm

73… PICKUP ON SOUTH STREET
1953 - Samuel Fuller - United States
www.a2pcinema.com/canon/films/73.htm

72... PATHER PANCHALI
1955 - Satyajit Ray - India
www.a2pcinema.com/canon/films/72.htm

71... M
1931 - Fritz Lang - Germany
www.a2pcinema.com/canon/films/71.htm

70... DANCER IN THE DARK
2000 - Lars von Trier - Denmark
www.a2pcinema.com/canon/films/70.htm

Cannon of 250 Films - #87-79

2008-08-04T23:27:00.002-04:00

www.a2pcinema.com/canon

87… TWENTY-FOUR EYES
1954 - Keisuke Kinoshita - Japan
www.a2pcinema.com/canon/films/87.htm

86… NIGHT AND THE CITY
1950 - Jules Dassin - United Kingdom
www.a2pcinema.com/canon/films/86.htm

85… WHY HAS BODHI DHARMA LEFT FOR THE EAST?
1989 - Bae Yong Kyun - South Korea
www.a2pcinema.com/canon/films/85.htm

84… THE BICYCLE THIEF
1948 - Vittorio De Sica - Italy
www.a2pcinema.com/canon/films/84.htm

83… BEAUTY AND THE BEAST
1991 - Gary Trousdale / Kirk Wise - United States
www.a2pcinema.com/canon/films/83.htm

82… THE FLOWERS OF ST. FRANCIS
1950 - Roberto Rossellini - Italy
www.a2pcinema.com/canon/films/82.htm

81… THE RULES OF THE GAME
1939 - Jean Renoir - France
www.a2pcinema.com/canon/films/81.htm

80… BELLE DE JOUR
1967 - Luis Bunuel - France/Italy
www.a2pcinema.com/canon/films/80.htm

79… DUMBO
1941 - Ben SharpsteenUnited States
www.a2pcinema.com/canon/films/79.htm

Cannon of 250 Films - #96-88

2008-07-21T23:10:00.000-04:00

www.a2pcinema.com/canon

96… THE CONVERSATION
1974 - Francis Ford Coppola - United States
www.a2pcinema.com/canon/films/96.htm

95… MILLION DOLLAR BABY
2004 - Clint Eastwood - United States
www.a2pcinema.com/canon/films/95.htm

94… THE MANCHURIAN CANDIDATE
1962 - John Frankenheimer - United States
www.a2pcinema.com/canon/films/94.htm

93… THE CIRCUS
1928 - Charlie Chaplin - United States
www.a2pcinema.com/canon/films/93.htm

92… THE NAKED SPUR
1953 - Anthony Mann - United States
www.a2pcinema.com/canon/films/92.htm

91… INLAND EMPIRE
2006 - David Lynch - France/Poland/United States
www.a2pcinema.com/canon/films/91.htm

90… DIABOLIQUE
1954 - Henri Georges Clouzot - France
www.a2pcinema.com/canon/films/90.htm

89… IT'S A WONDERFUL LIFE
1946 - Frank Capra - United States
www.a2pcinema.com/canon/films/89.htm

88… CENTER STAGE aka THE ACTRESS
1992 - Stanley Kwan - Hong Kong
www.a2pcinema.com/canon/films/88.htm

Cannon of 250 Films - #100-97

2008-07-11T23:01:00.001-04:00

>>> I've hit a slight bump in the road with this list, but I'm going to just skip ahead to breaking down the Top 100 (again keeping in mind the list includes only one film per director)...

www.a2pcinema.com/canon

100… CLAIRE'S KNEE
1970 - Eric Rohmer - France
www.a2pcinema.com/canon/films/100.htm

99… BROKEN BLOSSOMS
1919 - DW Griffith - United States
www.a2pcinema.com/canon/films/99.htm

98… THRONE OF BLOOD
1957 - Akira Kurosawa - Japan
www.a2pcinema.com/canon/films/98.htm

97… KILL, BABY...KILL!
1966 - Mario Bava - Italy
www.a2pcinema.com/canon/films/97.htm

CYD CHARISSE (1922-2008)

2008-06-18T08:13:00.003-04:00

I am very saddened by the death of one of my all-time favorite Hollywood actresses, Cyd Charisse. Of course Charisse was well known for her beauty (notably her famous legs) as well as her dancing. But she was also a great actress with memorable performances in classic films such as The Band Wagon, Party Girl, Brigadoon, and Silk Stockings. She also has a brief but unforgettable appearance in Singin’ in the Rain.

The Band Wagon is one of the greatest musicals in the history of Hollywood and I do not think it would be so without Cyd Charisse. That film remains one of my personal favorites, one that I revisit very often.

Charisse was one of the last living Goddesses of the Hollywood studio era and one of the most iconic figures in movie musicals… she will be missed!!!

Portishead - Third

2008-05-06T23:12:00.001-04:00

PORTISHEAD - THIRD

Now that I’ve listened to the album extensively (i.e. endlessly!!), I wanted to share some brief thoughts.

Looking at the album like I would a great filmmaker/artist who has returned after a 10+ year absence, the first thing that strikes me is the way this album opens and closes. The very opening track begins with the voice of a foreign language, as if to signify either the arrival of a mysterious forgotten band, or perhaps the exotic and experimental sound they have changed into over 10 years. It is certainly (and fittingly) a much different and experimental sound for this band, who transform scratching turntables into a guitar-heavy album.

The beauty lies in its pure originality and refreshingly distinct sound that is essential Portishead. This album demands to be heard as a whole, and to be listened to several times to fully appreciate its originality. I may not be an expert on music, but I can safely say that few bands today have such a distinct original sound as Portishead, and this is again evident with Third, where they prove they can change with the times, and still remain unique from anything else.

The album ends with two brilliantly connected tracks, with the final song (Threads) closing with an alarming sound that seems to be signaling the return of an unforgettable band… one that is for my money, the greatest band of all-time!!!

JULES DASSIN (1911-2008)

2008-03-31T17:42:00.003-04:00

American film noir has lost another icon… last week it was actor Richard Widmark and now director Jules Dassin, who died today at the age of 96.

Widmark and Dassin will forever be connected in my mind for their unforgettable 1950 film Night and the City, one of the greatest film noirs ever made!!

Jules Dassin was #77 on the A2P Cinema Top Filmmakers of the World list that I wrote in 2006. Here is what I said...

American-born Jules Dassin began in Hollywood making films within several genres. His greatest work in America were crime noir thrillers which came at the end of the 1940s with the violent Brute Force (1947), raw and gritty Naked City (1948), and the masterful noir Thieves Highway (1949). Each of these films were groundbreaking in different ways and Naked City is especially influential as it was one of the earliest Hollywood films to be entirely shot outside a studio and on location and it remains a pivotal influence to many documentary-style crime thrillers and television series that followed. Dassin’s last film in Hollywood, Thieves Highway, is one of the most exciting noirs ever made. In 1950, Dassin was forced to depart America as he was blacklisted for associating with the Communist Party. However, his career certainly didn’t end there, and in many respects it grew as Dassin became more beloved in Europe then he ever was in America. Dassin continued to make films in Europe, including: United Kingdom (1950’s Night and the City which to me is a masterpiece and one of the very greatest noirs of all-time), France (1955’s Rififi- his most beloved film which is well known for a long and silent heist sequence), and Greece (1960’s Never on Sunday- which was nominated for five Oscars including two for Dassin as Best Director and Best Screenplay). Dassin turned a bit more “arty” with his post-Rififi films, but he became highly respected in Europe most notably in France. His films prior to the unfortunate blacklisting, stand among the best of its kind in American cinema.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - There Will Be Blood

2008-02-19T23:16:00.000-05:00

GREED (1924, Erich von Stroheim)
http://imdb.com/title/tt0015881/
Erich von Stroheim’s 1924 silent film Greed is one of the most extraordinary achievements in film history. One that was far ahead of its time and certainly paved the way for modern cinema (and for notable masterworks, such as Orson Welles’ monumental Citizen Kane). Greed succeeds in a blend of complex realism with highly stylized cinematic technique rarely matched. The deep focus of the compositions give the film a timeless visual quality and its emotionally tragic humanism foreshadows that of Jean Renoir (who undoubtedly has been a pivotal influence to both Robert Altman and Paul Thomas Anderson). The core of There Will Be Blood is the battle of capitalism against religion, and greed is the driving force.

CITIZEN KANE (1941, Orson Welles)
http://imdb.com/title/tt0033467/
Many have compared Paul Thomas Anderson’s film to Orson Welles renowned American classic. The most obvious connection of the film lies in the lead characters and the sense of greed and depression they carry. Welles’ newspaper tycoon Charles Foster Kane easily reminds one of Daniel Day-Lewis’ oil man Daniel Plainview, and Anderson’s grandiose filmmaking certainly recalls that of Welles. Channeling Kane’s rise from early modest beginnings to alienated madness, There Will Be Blood may differ only in that the arch of the Plainview characterization doesn’t necessarily change, and the sentiment of a connection to humanity (such as Kane’s Rosebud) is absent. Plainview’s humanity only emerges from his unrelenting (and primitive) determination. I think ultimately they are quite different, but it is interesting comparing these two characters and films, both of which are destined to be placed among the iconic films of American cinema.

BARRY LYNDON (1975, Stanley Kubrick)
http://imdb.com/title/tt0072684/
From the opening image (and accompanying music) There Will Be Blood resonates with thoughts and feelings of Stanley Kubrick, and this continues throughout the film (even all the way through the end credits). Certainly direct comparisons can be made with The Shining, 2001: A Space Odyssey, and A Clockwork Orange. However, I think There Will Be Blood is most comparative with Kubrick’s 1975 masterpiece Barry Lyndon (perhaps his most perfect film overall). There is a similar structure and mood to the way these films operate and as such they are likely to divide audiences. Like There Will Be Blood, Barry Lyndon leaves a cold and empty feeling. Yet emptiness is essential in each film and it is a bold achievement on the part of the filmmakers for their precise vision, unrelenting to convention.

>> There are definitely more films I would say make good encore selections alongside There Will Be Blood including Billy Wilder’s Ace in the Hole (1951), Elia Kazan’s East of Eden (1955), George Stevens Giant (1956), Roman Polanski’s Chinatown (1974), and as previously mentioned anything else from Stanley Kubrick- notably The Shining (1980), 2001: A Space Odyssey (1968), and A Clockwork Orange (1971).

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Atonement

2008-02-14T23:49:00.000-05:00

PORT OF SHADOWS (1938, Marcel Carne)
http://imdb.com/title/tt0030643/
The most obvious comparison between Port of Shadows and Atonement comes in a beautiful sequence at the Dunkirk evacuation, as a silhouette image of Robbie is seen in front of the projection of Port of Shadows. The moment heightens his sense of longing and fate, both of which define the essence of Marcel Carne’s masterwork of poetic realism. Like Atonement, Port of Shadows is stylized and heartbreaking, and I think its placement in the silhouette was more then a simple homage.

BRIEF ENCOUNTER (1945, David Lean)
http://imdb.com/title/tt0037558/
With his early mastery of adapting classic novels to film, British director Joe Wright may be the new generations David Lean. Lean was well regarded for his technical filmmaking craftsmanship and epic vision. His greatest achievement (and as far as I’m concerned one of the greatest achievements in the history of cinema) was his most intimate work Brief Encounter. Like Atonement, Brief Encounter takes on a dreamlike state of romantic longing. All at once it feels so full of loneliness, yearning, sadness, and beauty. Certainly the scenes Robbie and Cecilia share together are reminiscent of those brief longing (fantasy?) moments shared by Alec and Laura. Brief Encounter is one of my all-time favorite films and I can think of no greater compliment to Atonement then to say I was reminded of it.

GOSFORD PARK (2001, Robert Altman)
http://imdb.com/title/tt0280707/
With his wonderful debut film Pride & Prejudice, Joe Wright reminded me of a way Robert Altman might have adapted Jane Austen’s lovely novel. Through long tracking shots, Wright took us beneath the surface and behind the corridors, and made us apart of the Bennett family. Much of that is recaptured in the opening portion of Atonement, which recalls Gosford Park in the way we go in-between the class barriers of the rich family and their workers. The class differential is only slightly observed in Atonement, but it remains a crucial and rather haunting presence as the film unfolds.

KON ICHIKAWA (1915-2008)

2008-02-13T11:32:00.001-05:00

Kon Ichikawa, one of the greatest living Japanese filmmakers, died of pneumonia today at the age of 92.

Ichikawa was one of the key figures to emerge from the postwar Japanese “humanist” era along with celebrated filmmakers such as Akira Kurosawa, Masaki Kobayashi, and Kinosuke Kinoshita. He has directed some of the most significant films in Japanese cinema history, including An Actor’s Revenge (1963), Fires on the Plain (1959), Tokyo Olympiad (1965), and his masterpiece The Burmese Harp (1956), a film that I would consider among the very greatest ever made.

You can view a clip from Ichikawa’s The Burmese Harp that I uploaded on YouTube back in June, here:

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Michael Clayton

2008-02-12T22:28:00.001-05:00

THE CONVERSATION (1974, Francis Ford Coppola)

http://imdb.com/title/tt0071360/

Like the best of Michael Clayton, The Conversation is a thriller centered on the character and his moral dilemma. Both George Clooney and Gene Hackman expertly capture the essence of their character without an ounce of overacting. Michael Clayton centers itself around a loss of moral focus at the pressure of big business decision making and The Conversation similarly deals with moral responsibility. The Conversation is one of the very best American achievements of the 1970s, so despite being an inferior film Michael Clayton still captures a lot of what it has to offer.

THREE DAYS OF THE CONDOR (1975, Sydney Pollack)

http://imdb.com/title/tt0073802/

Michael Clayton is very much a throwback to the liberal-driven adult character films of the 1970s. Three Days of the Condor is directed by Sydney Pollack, who fittingly plays the head lawyer of Michael Clayton. Both films use conventional genre thriller within the character-driven narrative, feature a great cast, and both have a well-intended liberal messages. These types of films were common for the era, but are rarely made by major Hollywood studios today.

THE CHINA SYNDROME (1979, James Bridges)

http://imdb.com/title/tt0078966/

The China Syndrome is, like Michael Clayton, a tightly made thriller that centers itself around the performances. The star-powered performance of Jane Fonda is not much different then that of George Clooney. Both performances carry an internal moral conscience that is essential to their characters and they each grow and deepen as the film progresses. Also similar are the characters played by Jack Lemmon and Tom Wilkinson, both of whom are crying out their warning. Both films are well paced, and intelligent, liberal-minded character thrillers carried by the performances.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - No Country for Old Men

2008-02-11T23:33:00.000-05:00

PSYCHO (1960, Alfred Hitchcock)
http://imdb.com/title/tt0054215/
Obvious connections can be made to the plot similarities between Alfred Hitchcock’s classic 1960 film and No Country for Old Men. However, I’m far more interested in its connections of aesthetics, characterization, and execution. Certainly watching No Country for Old Men draws comparisons to Hitchcock both in the detailed way each shot is storyboarded as well as the use of lighting and editing. There is also the strong sense of mystery and suspense. Like in the best Hitchcock films we are the distant spectators and the film plays with us as much as it does its own characters.

THE STRAIGHT STORY (1999, David Lynch)
http://imdb.com/title/tt0166896/
The metaphysical core of No Country for Old Men is expressed in its opening voice-over narration, and then later further expressed in the final scene. No Country For Old Men is a film centered around following (or chasing) a path between the past and the future. While certainly a different film, David Lynch’s 1999 The Straight Story has a spiritual and layered feeling that resonates in No Country for Old Men. Both film move at a rhythmic and haunting pace, leaving plenty to reflect on old age and on American living.

THE THREE BURIALS OF MELQUIADES ESTRADA (2006, Tommy Lee Jones)
http://imdb.com/title/tt0419294/
The Three Burials of Melquaidres Estrada similarly uses a modern western with political undertones. It also skillfully plays with dark humor and most notably plays with the splendor of the old-western films. The Three Burials of Melquaidres Estrada is the directorial debut of Tommy Lee Jones who also stars. His presence in No Country for Old Men further connects the two films, and it seems a fitting choice to follow-up his Three Burials character with this role. Three Burials is above all a journey for meaning and for the human body and souls connection with land and with death. Those similar philosophical themes are certainly dealt with in No Country for Old Men, a land where the life or death of a human soul can be decided by a flip of a coin.

ENCORE CHOICES TO THE BEST PICTURE NOMINEES - Juno

2008-02-04T22:27:00.000-05:00

The Oscars are less then a month away (and according to reports it looks as if the WGA is on the verge of ending their long strike)… In anticipation of the upcoming ceremony, I wanted to take a further look at the Best Picture nominees.

I think it is one of the best classes for Best Picture nominees in the Academy’s 80 year history. I enjoyed all 5 of these films, with 3 of them placing in my personal top 10 of the year. One aspect I enjoyed about these films and many others from this year was the way they reimagined old-fashion cinema in a variety of different methods.

I’d like to take a closer look at each nominee by offering a few encore films as possible recommendations. This is not intended to discredit the originality of these nominated films, but instead provide a deeper connection to their place among history.

I will post each of the nominees individually over the next few weeks leading up to the Oscars…

ELENA AND HER MEN (1956, Jean Renoir)
http://imdb.com/title/tt0049177/

The great French filmmaker Jean Renoir was master in (among other things) details. In one of his lightest comedies, Elena and Her Men, Renoir used politics under the surface of a romantic farce. It focuses less on plot details then it does on characters, on visual compositions, and on colors. Details in Renoir films are always very rich, and I think the best of Juno captures some of this both visually and in the characterization.

HAROLD AND MAUDE (1971, Hal Ashby)
http://imdb.com/title/tt0067185/

The world that the great filmmaker Hal Ashby creates is somewhat recaptured here, specifically in tone. Of course the most obvious tonal comparison is the distinct way in which both films use music to set the mood and the characterization. Juno’s use of The Moldy Peaches is not dissimilar to the way Ashby uses Cat Stevens in Harold and Maude, a film that also expressed the beauty of life and of individualism. Bottom line, if you enjoy Juno, the work of Hal Ashby will certainly be worth checking out!

4 MONTHS, 3 WEEKS, AND 2 DAYS (2007, Cristian Mungiu)
http://imdb.com/title/tt1032846/

This gripping Romanian film just reached American theaters in January. It is probably the complete opposite of Juno, but it is an interesting counterpoint both stylistically and thematically. Both films deal with unexpected or unwanted pregnancy in different ways. They each present opposite views but ultimately both films are less focused on the political issues of pro life or pro choice, instead focusing around the way the characters deal with it. The world of these films do not revolve around these characters, instead they simply inhabit them. As lead protagonists Juno’s Ellen Page, and especially 4 Months 3 Weeks and 2 Days Anamaria Marinca, each give phenomenal performances.

HEATH LEDGER (1979-2008)

2008-01-22T17:57:00.000-05:00

I am shocked, angry, and upset at this terrible terrible news... One of the great actors of his generation in the prime of his career... so sad.

When watching his performances, I always truly thought Heath Ledger was the James Dean of our generation and it is truly sad that his life also ends tragically. Watching Brokeback Mountain already brings me to tears and now it will be even more heartbreaking...

I plan to do a tribute article on Ennis Del Mar in honor of Heath, but it will have to wait as at the moment I'm too shocked and confused to think... Prayers go out to his family and his daughter.

FILMS OF 2007

2008-01-07T17:02:00.000-05:00

FILMS OF 2007

http://www.a2pcinema.com/films/2007.htm

2007 marked another great year in film, especially for American films, as many of the generations leading auteurs released new films (most notably being Paul Thomas Anderson and Todd Haynes, both who previously released films came in 2002).

Looking back on the year I think there are two trends that stand out from all the films released in 2007. The first is the way violence is perceived or detailed on film and by the viewer. Really this is a trend that has loomed heavily since David Cronenberg’s masterful 2005 film A History of Violence, and in some form or another it is further examined through a variety of films this year.

The other trend seems to be a re-imagining of old-fashioned filmmaking. Throughout the year we have seen a wide range of films take on influences or conventions from old-style Hollywood filmmaking, and then invent them into something modern and unconventional.

Perhaps one other pattern I personally experienced with the films I am placing in the Top 10, is how challenging they each are. These are films that I really needed to see more then once (and fortunately did with the exception of I’m Not There). It is amazing how each one is challenging in a different way:

Poetically (Away From Her)
Aesthetically (There Will Be Blood)
Spiritually (Into Great Silence)
Ambiguously (Atonement)
Morally (Ratatouille)
Experimentally (Syndromes and a Century)
Mysteriously (No Country For Old Men)
Refreshingly (The Darjeeling Limited)
Intellectually (I’m Not There)
Emotionally (Secret Sunshine)

These ten films further proved the importance of repeat viewings as well as the incredible depth of their art.

Of course, these are just ten of what I believe to be the very best of year. There are many more great films of 2007 and others I still have yet to see. Here is a brief summary of the films I did see ranked from most to least favorite: GO HERE TO VIEW THE COMPLETE LIST

Cannon of 250 Films - #244

2007-11-15T00:01:00.000-05:00

www.a2pcinema.com/canon

244... GOYOKIN
1969 - Hideo Gosha - Japan
www.a2pcinema.com/canon/films/244.htm

Opening Shot
Being the first Japanese film made in Panavision, Goyokin utilizes it from the opening frame- a wide shot of a scenic mountainside followed by a series of shots with a voiceover giving a background intrduction to the story and setting.

The Film
I am including this film over my favorite Hideo Gosha film (Sword of the Beast) simply because I believe it is a more definitive work of both the filmmaker and of the samurai genre. Hideo Gosha is often overlooked as a great filmmaker but he is responsible for some notable films of Japanese cinema. His 7th feature, 1969’s Goyokin stands as a Japanese landmark simply because it was the countries first feature film shot in Panavision. Goyokin is a samurai film made very much in the conventions of the genre. These visuals are stunning throughout the film which uses landscapes of forests, villages, seasides, and colorful visuals to great heights. Gosha gives the film a complex depth and involvement through his crafty filmmaking. After a stunning opening sequence (a woman returning home to find her family slaughtered- intercut with shots of black crows), the film takes some time to develop but this is done mostly within the conventions of the genre. It builds tension through setup before quickly flashing the lively fight sequences. The layers of the story really evolve as the film progresses, centering on a samurai (Magobei) who choose to abandon his clan after they slaughter a small village in order to collect gold and pay taxes. Looking to rid the guilt Magobei protects the remaining survivor of the massacre and seeks to stop the clan from repeating the massacre. At the core is the trademark Gosha theme of rebellion, as well as that what drives all samurai films or characters: the Bushido code (a reality that can often be a burden). Tatsuya Nakadai gives a strong lead performance as the conflicted samurai and Ruriko Asaoka is also solid in the role of the woman he protects. Maybe not a masterpiece, Goyokin is top-notch samurai filmmaking with some serious emotional layers and crafty filmmaking. It has plenty of swordfights, but is far from bloodfest more common of samurai films. Still this remains a really good film from a talented filmmaker. I still prefer Gosha’s 1965 film Sword of the Beast, but Goyokin is among the better samurai films I’ve seen and is essential viewing for fans of the genre.

The Filmmaker
Hideo Gosha may not be in the class of the great masters of Japanese cinema, yet he remains overlooked as a significant filmmaker. Gosha is most notable as one of the essential filmmakers of the samurai genre. His films live within the conventions of the Japanese samurai genre. The samurai film thrived in Japanese cinema during the 50s and 60s varying in all different types. Gosha way not have been the innovator, but he was able to define the samurai in all it's varieties. Gosha did have a vision, and was a great craftsman as a filmmaker. His visual style is often compared to that of the Sam Peckinpah, a filmmaker mostly known for his innovative westerns. He particularity excelled staging action sequences within the layered emotions of the film. Gosha mostly stayed within conventions, but he thrived with these conventions and in turn made some of the most recognizable examples of the samurai genre: Three Outlaw Samurai (1964), Sword of the Beast (1965), Samurai Wolf 1 and 2 (1966/7), Goyokin (1969), and his most celebrated film Hitokiri (1969). Gosha went on to make other films (including yakuza films as well as the popular melodrama The Life of Hanako Kiruin (1982).

Cannon of 250 Films - #246-245

2007-11-14T00:02:00.000-05:00

www.a2pcinema.com/canon

246... PUTNEY SWOPE
1969 - Robert Downey Sr. - United States
www.a2pcinema.com/canon/films/246.htm

245... LE SAMOURAI
1967 - Jean Pierre Melville - France / Italy
www.a2pcinema.com/canon/films/245.htm

Canon of 250 Films - # 250-247

2007-11-13T07:11:00.000-05:00

www.a2pcinema.com/canon

250… NO MAN OF HER OWN

1932 - Wesley Ruggles – United States

www.a2pcinema.com/canon/films/250.htm

249… FIVE EASY PIECES

1970 - Bob Rafelson – United States

www.a2pcinema.com/canon/films/249.htm

248… INTO GREAT SILENCE

2006 - Philip Groning - France / Switzerland / Germany www.a2pcinema.com/canon/films/248.htm

247… BODY HEAT

1981 - Lawrence Kasdan – United States

www.a2pcinema.com/canon/films/247.htm

The A2P Cinema Canon of 250 Films

2007-11-12T07:01:00.000-05:00

Over the course of the next several months I will be gradually posting a new list/project I've been working on...

The A2P Cinema Canon of 250 Films will be comprised of personal selections as the definitive films throughout the world of cinema. The list is not exactly of 250 greatest or even 250 favorite films of all-time, as it will be limited to the difficult task of including only one film per director. The exact ordering of the list can be taken with a grain of salt as they can easily be numbered anywhere. However, to keep the list entertaining, or at least more interesting, they will be arranged from 250 to 1.

To me, each of these films are beautiful, transcendent, and inspiring in their own unique way. As definitive favorites, these are the films I personally think of when I think about films and filmmakers. Obviously limiting one per director, as well as the fact that I most likely have some great films that unfortunately have yet to been viewed at this point, makes this list only a tentative one at best. But really that is true of all lists. They are basically meaningless or silly and do not capture the essence of any film. However, if a list has the power to recognize and celebrate these films, it can certainly be something to embrace, because all is good if they can encourage the viewing of great films… Truly one of the timeless joys of the world!

NOTICE

2007-10-01T23:28:00.000-04:00

For the time being this blog will be inactive. I may occasionally post some logs and hopefully will return to daily posts in the near future. However for now it will remain quiet... Please feel free to check back or view the archives...

A2P Cinema October Feature Film

2007-10-01T07:18:00.000-04:00

REPAST

Mikio Naruse . 1951 . Japan

>> more @ a2pcinema.com

September 29th Log

2007-09-29T21:58:00.000-04:00

ONCE
2006, John Carney, Ireland
Repeat Viewing, Theater

"Take this sinking boat and point it home..." Once is a simple film, and it is in it’s simplicity that it becomes sweet, lovely, and heartbreaking all at one time. The joy is to see the little details of the film and to embrace them like you would a great song. By little details I mean the gestures, the smiles, or even the sounds of a voice that define this beautiful film and it’s wonderful characters. Once is very much a re-imagination of the Hollywood music, set towards realism. The narrative of this film is pretty simple, but the moments in-between or within the narrative is what transcends this film beyond simplicity. The film has the flow of a song, reaching a moment of pure gold when the Guy (Glen Hansard) and Girl (Marketa Irglova) take a quiet moment together to play a song. At every moment writer-director John Carney (who is a co-member of the band The Frames with Hansard) gives us such a sense of the settings and in this pivotal scene we are intimately taken into the characters as they connect through music (it is heighten by a terrific song – ‘Falling Slowly’). The film later reaches it triumph peak in a beautifully composed one-shot take of Irglova walking home from a convenience store singing her lyrics to Hansard’s music. Of course the films final moment is unforgettable, as the music and narrative come together in a bittersweet ending that captures the connection of music and love as a collective one. Not to be without mentioning is the lead performances from Glen Hansard and Marketa Irglova, both of whom are real life musicians and have worked together in the past (in 2006 they released The Swell Season). Hansard and Irglova are simply perfect onscreen together and easily define the heartfelt love and friendship of the film, one that is honest and even inspiring in its celebration of music and togetherness.

September 28th Log

2007-09-28T23:21:00.000-04:00

WHAT DID THE LADY FORGET?
1937, Yasujiro Ozu, Japan
Repeat Viewing, DVD

What Did the Lady Forget is a joy of a film from Ozu. His earliest influence as a filmmaker was from the West and while this is evident in much of his earliest silent films it may be most prominent in this early talkie. The film is a social satire of the upper class and it even mixes in elements of screwball comedy. The great German-American filmmaker Ernst Lubitsch (known for his "Lubitsch touch') seems to be an influence here. Ultimately this is Ozu at his most lighthearted and charming. This film does not express the human condition as powerfully as his previous film (his first talkie The Only Son). What Did the Lady Forget is a wonderful comedy highlight by terrific performances. This may not be the most significant film Ozu made, but it is among his most endlessly watchable and endearing comedies.

>> More on What Did the Lady Forget? @ A2P Cinema's Yasujiro Ozu website HERE

>>> A scene from What Did the Lady Forget?:

GRACIE
2007, Davis Guggenheim, United States
1st Viewing, DVD

Gracie moves along at a fast pace, quickly giving us everything we expect and have seen before. If your invest the time into the story and characters you will probably be moved and inspired by its ending even though you know it before the film even begins. The film is said to be loosely based on the life of Elisabeth Shue growing up and she co-stars as Gracie’s mother in the film, which is directed by Shue’s real-life husband Davis Guggenheim. Unfortunately the filmmaking is far from personal, despite the fact the filming location were shot at Shue’s home town. The performances are fine and the sense of family loss is occasionally well observed but nothing more the formulaic and the film centers itself to much around the predictability of the climatic game.

September 27th Log

2007-09-27T23:02:00.000-04:00

BUG
2007, William Friedkin, United States
1st Viewing, DVD

Tracy Letts adapted the screenplay from his own play and hired crafty filmmaker William Friedkin to direct. The result is an excellent film. One that grabs you into it’s paranoid world through the claustrophobic atmosphere. Friedkin effectively plays with the theatrical focus of the film, by expressively creating a closed-in surrounding of paranoia. I guess you can consider this a horror film because it is difficult to classify, but to me it is something else. Ashley Judd gives a terrific performance which very well may be her best since her incredible lead in 1993’s Ruby in Paradise. The film is a deeply metaphoric one raising important social questions within it’s bizarre world of hallucinations and paranoia. I’m not sure is this is a film for everyone, but I think it is an interesting and bold achievement.

September 26th Log

2007-09-26T23:47:00.000-04:00

DEATH PROOF
2007, Quentin Tarantino, United States
1st Viewing, DVD

I don’t like the idea of the two Grindhouse films splitting apart. Death Proof is a fun film for the most part and Quentin Tarantino’s strength with dialogue, with sound, and especially with music are apparent as ever here. Ultimately this is nothing more the parody, even moreso then anything else Tarantino as done. What this film lacks is the absorbing connection you get with the films being reimagined and homged here. The times Death Proof reaches this is whenever Kurt Russell is onscreen. Playing a collective take of his early persona, Russell is the highlight of this otherwise average film. Playing the type of role her excels in, Russell provides all of the films energy and emotion. Death Proof is well made, dividing the look of the first half with a grainy flawed grindhouse feel, before turning it into a more skillfully shot road revenge action film. Death Proof is well worth watching and is a lot of fun, but besides Russell and the soundtrack it lacks the energy and human emotion that is usually present in a Tarantino film.

September 25th Log

2007-09-25T23:21:00.000-04:00

KISSING ON THE MOUTH
2005, Joe Swanberg, United States
1st Viewing, DVD

I liked Independent filmmaker Joe Swanberg’s recent film Hannah Takes the Stairs and decided to seek out his previous work. Kissing on the Mouth is somewhat of a disappointment. While some of what is so great about Hannah Takes the Stairs (or much more specifically the films of Andrew Bujalski) is evident again here, Kissing on the Mouth fails in comparison. To me the film leaves the viewer with a much less absorbing feeling and is ultimately sloppy and unfocused. I like these films, which are now being branded into a subgenre known as Mumblecore, and I applaud these filmmakers for making these films, but this one lacks the charm of something like Bujalski’s brilliant Funny Ha Ha. This film certainly captures and intimacy or reality and un-erotic sex and nudity, but at the same time it lacks that otherworldliness that I also love about the Mumblecore films. In the end, much of this just feels like nothing more the shock value reality cinema.

KNOCKED UP
2007, Judd Apatow, United States
1st Viewing, DVD

Judd Apatow follow-up to his critically acclaimed debut 40 Year Old Virgin is another comedy which blends his trademark raunchy humor with a honest and touching emotion. The formula works to great effect once again, with the only flaw being perhaps that Apatow’s freedom avoids unnecessary scenes hitting the cutting room floor, because at nearly 2 and half hours this particular film could be trimmed down. Or perhaps Apatow is keeping with his roots, because the unneeded scenes are primarily those centered around the raunchy shenanigans of Ben Stone’s (played by Seth Rogen) friends. Otherwise this is a very generous and funny comedy. It is geared for a pop-culture mainstream audience, but this is as good as it can be. Most of all because it has heart, and that is where the wide appeal of the film comes. Of course that and the likable performances by the cast, most notably Seth Rogen and Katherine Heigl in the leads. Knocked Up is funny and raunchy, but at it’s core it is a film that takes itself serious. Because of this the film is an endearing one.

September 24th Log

2007-09-25T22:49:00.000-04:00

BEFORE SUNSET
2004, Richard Linklater, United States
Repeat Viewing, HBO

"I don't have any permanent place her. In eternity or whatever, and the more I think that I can't go through life saying this is no big deal. This is it! This is actually happening. What do you think is interesting? What do you think is funny? What do you think is important? Every day is our last." Anytime I see this film coming on, I can’t resist… To me it is 77 minutes of cinematic perfection and a film I absolutely consider one of my all-time favorites from any decade/country/etc. It really is perfection. Such a simple film but one that emerges layers and layers of depth on human and spiritual levels. I love this film so much and will continue to rewatch it over and over everytime feeling differently or perhaps breathtakingly curious about what continues after the fade to black over Nina Simone singing “Just in Time”… and I love that the curiosity will never go away!!!

September 22nd Log

2007-09-22T22:38:00.000-04:00

LINDA LINDA LINDA
2005, Nobuhiro Yamashita, Japan
Repeat Viewing, DVD

Linda Linda Linda is a joy of a film. One that is irresistibly sweet and silly and inspiring. Simple and full of energy, the film is driven by it’s moments between the narrative. The setting is a high school and the story centers around an all-girl rock band that wants to perform at the schools local rock festival. When the lead singer leaves the band, they get a shy Korean exchange student as a replacement. Predictable or simple as the story is, it is an absolute gem. You know where it’s going, but the pleasure is the moments within. You connect with these characters and the awkward gestures and conversations they share. The performances are wonderful, but it is Bae Doo-Na that is the standout. One of the very best actresses of her generation, Bae always commands attention on screen the way she boldly captures the essence of her characters. Here she is so warmly loveable as the Korean exchange student. The other character of the film is the music. Linda Linda Linda finds the core of music as a function of spirit and soul and of togetherness. Here it defines the punk-rock inspirations and speaks of individuality. When the ending arrives, it connects on a universal level. It takes over the human soul and encourages you to jump up and sing along: “Linda Linda … Linda Linda Lindaaaaddddaaaaa!!!” It’s irresistible and you will be unable to get it out of your head long afterwards. Linda Linda Linda is funny and quirky. It is a film that you watch and admire for it’s humanity and energy.

ANATOMY OF A MURDER
1959, Otto Preminger, United States
Repeat Viewing, Turner Classic Movies

Anatomy of a Murder is not only one of (if not the!) greatest courtroom films ever made, it's also among the truly greatest films of all-time, period! There's just so much to love about this film. It's a film that was years ahead of it's time and remains fresh, and exciting today. Otto Preminger's direction is simply put, flawless. Even at 160 minutes, there is not a moment wasted (from the legendary Saul Bass' wonderful opening title design sequence through the "poetic justice for everyone", final shot of the high heel). There are many factors that Anatomy of a Murder such an engaging film, but none more then the jazz score of the genius Duke Ellington. Ellington is, to me, the greatest musical composer/songwriter of the 20th Century, and here he makes his landmark statement in cinema, with one of the most absorbingly beautiful scores in film history. The always brilliant James Stewart gives yet another memorable performance, as does George C Scott in the role of the prosecuting attorney. Together they display a fascinating display of intelligence, depth, chemistry, and alot of humor. There are some unforgettable, fast, and witty verbal exchanges that capture a comedic, an authentic, and a dramatic emotional response. Anatomy of a Murder often gets forgotten among the greatest films in American cinema, however it's timelessness and brilliance has proven it's certainly worthy of such recognition!

September 21st Log

2007-09-21T23:01:00.000-04:00

RED ROAD
2006, Andrea Arnold, United Kingdom / Denmark
1st Viewing, DVD

Red Road was the Jury Prize Winner at the 2006 Cannes Film Festival. The film begins effective, building up atmosphere and a feeling of detachment from the world. However, contrived plot elements take over the final third of the film and the result is a rather dull film. The film is directed by English filmmaker Andrea Arnold (who won an Oscar for her short film Wasp). Arnold has some connections with the Dogme (Lars von Trier) crew and her influences are evident in both style and technique (stripping the film of traditional elements such as score and lighting). Red Road is well made, but ineffective in it’s storytelling. I will be interested to see what Andrea Arnold does with her next film.

FLOATING WEEDS
1959, Yasujiro Ozu, Japan
Repeat Viewing, DVD

By 1959 Ozu had converted to making color films, but he refused to fall into the conventions of CinemaScope. Ozu preferred his rare and simplistic filmmaking style. However, with Floating Weeds he did get the legendary Japanese cinematographer Kazuo Miyagawa (most known for his work with the great Kenji Mizoguchi) to photograph the film. It remains one of the only post-war films not be shot by Yuuharu Atsuta and also one of the few color films in which the camera moves. Visually the film is stunning and breathtakingly rich and detailed. Floating Weeds is a remake of Ozu's 1934 silent film A Story of Floating Weeds. While the storyline is alike, the biggest difference between the film lies in the tone. Both films handle the melodrama in different ways. Floating Weeds is a compassionate at times visually masterful film. Not everything works here but there are some moments of humor and subtle poetry.

>>> More on Floating Weeds @ A2P Cinema's Yasujiro Ozu website HERE

>>> Here is a clip from the opening moments of Floating Weeds:

September 20th Log

2007-09-20T23:28:00.000-04:00

STRAIGHTHEADS aka CLOSURE
2006, Dan Reed, United Kingdom
1st Viewing, DVD

After building a career of critical praise and accolades on political documentaries and television series, Straightheads (released in America on DVD as Closure) marks the feature directorial debut from Dan Reed. The film becomes a multiple layered examination of revenge from both the female and male perspectives and observes how ultimately the views change in the face of vengeance. For the most part the film does a fine job of this and effectively gives us a mysteriousness that is required. The performances are fine, with Gillian Anderson being especially good. The marketing of the film has compared it to Sam Peckinpah’s Straw Dogs and the comparisons seem justified. Straightheads was not as well received but it is a better film then I anticipated.

THE CAMDEN 28
2007, Anthony Giacchino, United States
1st Viewing, DVD

Winner of two awards at the Philadelphia Film Festival, The Camden 28 is an excellently made and powerful documentary. Director Anthony Giacchino reveals the relatively unknown story of a group of human rights activists efforts to rebel the Vietnam War by burglarizing a Draft Office in Camden. Ratted out by a mole 28 members were charged with felonies, only to be acquitted. Over 30 years, this documentary gives their story and becomes a powerful tale of betrayal, of forgiveness, and of ethics in the face of government exploitation. If the film has a flaw it is over the course of it’s ending, which goes a bit to far. But otherwise, this is an insightful and moving documentary, made with effective kindness and beauty.

September 19th Log

2007-09-19T23:06:00.000-04:00

ONCE
2006, John Carney, Ireland
1st Viewing, Theater

"Take this sinking boat and point it home..." Once is a simple film, and it is in it’s simplicity that it becomes sweet, lovely, and heartbreaking all at one time. The joy is to see the little details of the film and to embrace them like you would a great song. By little details I mean the gestures, the smiles, or even the sounds of a voice that define this beautiful film and it’s wonderful characters. Once is very much a re-imagination of the Hollywood music, set towards realism. The narrative of this film is pretty simple, but the moments in-between or within the narrative is what transcends this film beyond simplicity. The film has the flow of a song, reaching a moment of pure gold when the Guy (Glen Hansard) and Girl (Marketa Irglova) take a quiet moment together to play a song. At every moment writer-director John Carney (who is a co-member of the band The Frames with Hansard) gives us such a sense of the settings and in this pivotal scene we are intimately taken into the characters as they connect through music (it is heighten by a terrific song – ‘Falling Slowly’). The film later reaches it triumph peak in a beautifully composed one-shot take of Irglova walking home from a convenience store singing her lyrics to Hansard’s music. Of course the films final moment is unforgettable, as the music and narrative come together in a bittersweet ending that captures the connection of music and love as a collective one. Not to be without mentioning is the lead performances from Glen Hansard and Marketa Irglova, both of whom are real life musicians and have worked together in the past (in 2006 they released The Swell Season). Hansard and Irglova are simply perfect onscreen together and easily define the heartfelt love and friendship of the film, one that is honest and even inspiring in its celebration of music and togetherness.

STEPHAINE DALEY
2006, Hilary Brougher, United States
1st Viewing, DVD

Stephanie Daley opens with images of winter landscapes and snow. This immediately sets the tone for what is truly a cold and bleak film. Dealing with a young girl that is in denial of a pregnancy and that she ultimately murdered her baby by secretly delivering it. A forensic psychologist is sent to investigate the case, and we soon discover she herself has a troubled history. Together the two own find strength in each. That may sound like a cliché, but I assure you this film is a powerful one through the performances of the terrific leads (Amber Tamblyn, as the 16-year-old girl and especially good is Tilda Swinton as the psychiatrist). Heightening the film is the director and narrative control from writer-director Hilary Brougher, in her second feature film. There is a beautiful flow to the film that gives it a lyrical flow over top the surface of a tragic story. Above all the film is deeply human and one with layers of psychological depth. Stephanie Daley is a film you watch and think about long afterwards.

September 18th Log

2007-09-18T22:04:00.000-04:00

TONY TAKITANI
2001, Jun Ichikawa, Japan
Repeat Viewing, DVD

Even at just 75 minutes, Tony Takitani is a touching film of complex and deep emotion levels. It is such a simple and quiet film that delves so deep into its character and ultimately becomes a very unique portrayal of loneliness. Most notably the film captures the loneliness and emotional state of it's title character (played by Issei Ogata). However, it also captures this sense of loneliness in the young woman he falls in love who's connection with life is her obsession to shop for clothes. It is when Tony falls in love with this woman that he realizes his loneliness prior and that losing her would put him into an isolated state he couldn't control. Tony Takitani is made at an elegant pace. Director Jun Ichikawa presents a very unique style that includes a voice-over narrator throughout with the characters occasionally narrating as the film is progressing. The film also features consistent profile and parallel tracking shots as transitions, close-up shots of feet/shoes, a dull almost black and white visual color, and a couple trademark Ozu-like shots (including smoke pipes, and low angle compositions from the top of a Japanese hill). Tony Takitani is a beautifully made, and heartbreaking film. It is a quiet film, but the emotional depths speak volumes.

September 15th Log

2007-09-15T22:22:00.000-04:00

THE MIRROR
1975, Andrei Tarkovsky, Soviet Union
Repeat Viewing, DVD

The Mirror is masterful Russian director Andrei Tarkovsky's most personal and ultimately most artistic film. Tarkovsky's trademark slow pace, and brilliant long takes are beautiful to watch. Through images and dreams we are taken into the minds of the films character, but are always left with a secret. The film flows like a dream in both color and black and white. The Mirror is most of all an autobiography towards Tarkovsky's relations and memories of his Mother and Father, whom he deeply cared for. The Mirror is a film of childhood memories and the emotions, feelings, and images of those memories. The cinematography is among the best you'll see in cinema, specifically the masterful use of color and visions of nature. The closing moments are deeply touching and beautiful. The Mirror is artistic cinema at it's most breathtaking and poetic. It does what wonderful and powerful cinema should: capture emotions through it's images! True art, and more importantly true cinema, captures the emotions and soul of the viewer and let's them ponder the imagery subconsciously. Tarkovsky masters this ability and remains one of cinema's most gifted visionaries.

September 14th Log

2007-09-14T23:19:00.000-04:00

WALK CHEERFULLY
1930, Yasujiro Ozu, Japan
1st Viewing, DVD

Today marked my first viewing of this 1930 Ozu silent film. To date, I have now seen all but three of his surviving 33 feature films. Walk Cheerfully is uncharacteristically Ozu in it’s highly stylized, fast paced, and genre blending approach. Ozu shares the writing credit with Japanese filmmaker Shimizu Hiroshi, whom Ozu greatly admired and admitted gave him the idea for the story. Walk Cheerfully is a mix of genres (crime, drama, comedy, romance) while recalling obvious inspirations and references to Hollywood silent films. Stylistically, much is unique from Ozu’s definitive work, yet there are still visual motifs and patterns that are evident. However, here the compositions are far more stylish then most of Ozu’s work (even in comparison to his silent films). The film takes on multiple plot layers, but the focus is on Kenji, a petty thief who decides to go straight after he falls for a sweet woman (Yasue). Kenji’s girlfriend (in full femme fatale / Louis Brooks mode) tries to lure him back into the life of crime, only to turn on him and hand him over to the police. Kenji “walks cheerfully” knowing that Yasue, her mother, and her sister will be waiting for him to return. Walk Cheerfully is not essential Ozu, but it is an entertaining and kindhearted film. One that is made in unexpected style and pace- including a skillful execution in camera movement and nourish devices that make it unique from almost anything else Ozu made before or after.

>>> More on Record of Walk Cheerfully @ A2P Cinema's Yasujiro Ozu website HERE

>>> A clip from Walk Cheerfully:

FAR FROM HEAVEN
2002, Todd Haynes, United States
Repeat Viewing, DVD

Continuing my month repeat viewing of Todd Haynes films… Todd Haynes 2002 film, Far From Heaven, is bold and involving. There is no question about the influences here: the 1950s Technicolor melodramas by Douglas Sirk (most notably All That Heaven Allows). Aside from capturing the look, emotions, sounds, feelings, and period details of the era, Haynes is essentially making the film has if it were the 1950s. What results is a work that that is not only deeply respectful of it's inspirations, but also gives more complex examination and in many ways is perhaps more authentic and more important, and more powerful. Todd Haynes has made a 1950s film without holding back the restrictions those films did at the time. Julianne Moore's performance is amazing. It's as if Moore (and the viewer) lose themselves in the character. Everything we see becomes and feels real. The supporting cast is equally wonderful, lead by the always reliable Dennis Quaid and Patricia Clarkson. This is a film of human feelings and behavior. It is a love story of two lost souls who relationship is doomed by a society and behavior of ignorance and hatred. The films greatest strength lies in the beautiful photography. The colorsare so refreshing and it's as if they help tell the story without feeling staged. From the opening crane shot through the fall leaves, Far From Heaven is a flawless film of visual imagery. Every detail is finely designs from colors, locations, sets, and costumes. But above all this is a film of masterful compositions, which (like the themes of the film) hold endless layers and depth beneath the surface. There is such richness and patterned texture within every frame of the composition,which captured the expression of the film (often without the need of dialogue). This is filmmaking at it's most visually complex and artistic. The emotional style may seem a bit to melodramatic and dated to some viewers. However, those that appreciate the glorious cinematography, fine detailed sets and costumes, haunting score, and flawless directing and acting, will see it for what it is: A completely respectful, authentic and sometimes painful look at what life was really like back in "the good old days" that in so many ways really weren't all that great! Bottom line: a masterpiece film that will hit on all visual and emotion levels.

September 12th Log

2007-09-12T23:22:00.000-04:00

AWAY FROM HER
2007, Sarah Polley, Canada
Repeat Viewing, DVD

Away From Her is (to date) the best 2007 release I have seen! Written and directed by actress Sarah Polley in her debut, who adapted the film from a short story by Alice Munro (“The Bear Came Over the Mountain”), Away From Her is a heartrending film of memory, and of marriage. The film is beautifully structured like a poem, drifting in a non-linear journey of the past and present. The film opens with a series of shots that are poignantly rendered, as we subtly observe three different perspectives of a couple cross-country skiing (together, on separate paths, and then together again). Polley effectively plays with time, skillfully heightening the films treatment of memory- much in a similar style of the films co-producer Atom Egoyan (who directed Polley in his 1997 masterpiece The Sweet Hereafter). Only 28 years old, Polley shows the grace and wisdom of a filmmaker far ahead of her age in the way she finds the perfect little details of a 44-year old marriage. A love that after 44-years has grown stronger through memory. So what happens when Fiona (played by Julie Christie in a career-defining performance) suffers Alzheimer's disease? Can their love persevere? When Fiona tells her husband Grant that she “is beginning to disappear”, she agrees to be submitted to Meadowlake Nursing Home, a place that seems destined to erase memories of the past, even a 44-year marriage. By Meadowlakes policy (which as a nurse states is probably more convenient for the staff), Grant must be away from Fiona for 30 days. The films title seems to reflect both husband and wife, as they are taken away (he from her, and her from herself) from the loss of shared memory. Carrying the emotional weight of the film without an ounce of sentiment is the incredible performance from the always reliable Julie Christie. As Fiona, Christie is heart-wrenching, but in a way that is perfectly subtle and underplayed. Away From Her is an incredibly moving film. It is heartbreakingly sad, but ultimately hopeful in its graceful observation of acceptance, and of selfless love.

September 5th - September 11th Log

2007-09-11T23:39:00.000-04:00

The website was down for the past week due to several internal modifications. I will try to return to regular posting, but in the meantime here is a very brief recap of the past weeks log…

Most of this month I have been watching the entire Azumanga Daioh anime series. 26 episodes over a six disc set, this series is well worth the time invested. It is a quirky fun in the warmest and most honest of manners. I really loved the feeling this series left me with. The characters are the strength, but the visual animation and storytelling are also quite good... I watched was Luis Bunuel’s Milky Way, said to be the first of a thematic trilogy (with The Phantom of Liberty and The Discreet Charm of the Bourgeoisie). The Milky Way touches further on Bunuel’s fascination with religion (Catholicism). The result is a film that is uneven (perhaps intentionally so) but certainly interesting and well worth checking out as a companion to Bunuel’s late masterworks. I also watched acclaimed Iranian director Jafar Panahi’s fifth film… A follow up to his bleakest film (Crimson Gold) Offside may be Panahi’s most accessible work, yet one that reexamines the role of the woman in Iran and it is made with his typical documentary-like style… Some other films I have been watching this month are those by David Gordon Green and Todd Haynes, two of my favorite filmmakers in current American cinema. Still awaiting the release of Green’s 4th film (which premiered at Sundance and should reach American theaters in 2008), I re-watched his third film Undertow, Green's most narrative-based film. He's working within genre, but rather then conveying cliches, Green takes a genre formula into a style very few can capture. Really, Green's films have such a unique and distinctive quality. While they obviously take place in the south, his films have a timeless and placeless-ness to it. Even though Undertow is his most conventional narrative film, story (as always with Green) is overshadowed by atmosphere and mood. I plan of viewing some more Haynes films later this month, but one I did recently rewatch was his brilliant 1987 masterpiece Superstar: The Karen Carpenter Story. Reinventing the boundaries of the biopicture, Haynes gives us a unique look into multiple genres without relying on the gimmick of the concept. Ultimately Haynes transcends the gimmick into artistic and ironic depths that make it truly a rare achievement…. Tow other films I saw, Georgia Rule, which I did not really enjoy, and a repeat viewing of Woody Allen’s Scoop, which can absolutely be enjoyed when not taken too seriously.

Site Maintenance

2007-09-05T07:29:00.000-04:00

This website is currently undergoing some internal maintenance… posts will return sometime in the next few days.

September 4th Log

2007-09-04T22:39:00.000-04:00

ALL THE REAL GIRLS
2003, David Gordon Green, United States
Repeat Viewing, DVD

I have seen All the Real Girls many many many times. Viewing George Washington yesterday left me wanting more David Gordon Green and it has been awhile since I last saw this film (which I try to revisit once a year at the very least). I absolutely love the feeling this film leaves me with… Breathless with joy and hope even in its saddest moments!! It’s beautiful, funny, heartbreaking, and absolutely lovely. David Gordon Green is a genius in my eyes. He is the next generations Terrence Malick… a poet of filmmaking. To date, Green has made three films (all of which I believe to be great) and I think he will continue making great films, but I don’t know if he’ll ever surpass All the Real Girls. I love this filmmaker, I love this cast, I love this film. “You have my heart…”

September 3rd Log

2007-09-03T21:52:00.000-04:00

RIDE IN THE HIGH COUNTRY
1962, Sam Peckinpah, United States
1st Viewing, Turner Classic Movies

Before completely reimagining the western genre with his groundbreaking 1969 film The Wild Bunch, Sam Peckinpah made Ride in the High Country. The film is his first western and above all the film seems to mark a swan song for its lead actors, Joel McCrea and Randolph Scott, both of whom had long lasting careers in the western genre. Here they play two aging gunmen who are hired by a bank to deliver gold from a mining camp. The narrative is quite simple and certainly nothing innovative, but the lyrical direction of Peckinpah combined with the powerful performances by McCrea and Scott (in their last significant roles). Even before making more definitive film of his style, Ride in the High Country stands as one of Peckinpah’s better films. One that captures his trademark realism and complex morality. It is also an important tribute to a genre and of two of it’s long lasting figures.

GEORGE WASHINGTON
2001, David Gordon Green, United States
Repeat Viewing, IFC

“My friend George said that he was gonna live to be 100 years old. He said, He said that he was going to be the president of the United States. I wanted to see him lead a parade and wave a flag on the Fourth of July." In his first feature film, filmmaker David Gordon Green wrote / directed the fascinating and artistic George Washington. It's a very creative and original vision, which draws inspiration from the masterful work of Charles Burnett’s essential 1977 masterwork Killer of Sheep, as well as the films of Terrence Malick (specifically Days of Heaven). Much like these influences, Green stretches the boundaries of plot and storytelling to create a unique quality, while remaining honest and respectful of the viewer and the films characters. The characters (and audience) never get cheated or manipulated. More so then plot, George Washington relies on a series of incidents to examine the minds and feelings of it's young characters (who ALL are perfect, despite absolutely NO acting experience). Despite the films minor plot, it still manages to be powerful and creates a mood and sense of humanity to keep viewers interest in it's study of poor kids in an adult world, which seems to be decaying around them. The impact and strength of the film (like Days of Heaven) can mostly be credited to the outstanding cinematography by Tim Orr (who Green respectfully shares the end credit with). The train tracks, junk-yards, pools, bathrooms, and homes which surround George Washington have an equal role to it's characters. Green and Orr brilliantly capture atmosphere and mood, and their work has such a timeless and placeless quality to it. Race, class, or even corporations are nonexistent in this films world. While George Washington may not be absolutely perfect, it's still an excellent film from a gifted young filmmaker, and highly recommended to those who enjoy the artistic vision and poetic power of cinema.

A2P Cinema September Feature Film

2007-09-01T07:00:00.000-04:00

RIO BRAVO
Howard Hawks . 1959 . United States

>> more @ a2pcinema.com

August 31st Log

2007-08-31T22:42:00.000-04:00

EARLY SPRING
1956, Yasujiro Ozu, Japan
Repeat Viewing, DVD

Following a short hiatus, Early Spring is the first film Ozu made after his acclaimed 1953 Tokyo Story. Here Ozu is mostly examining the life of one man, and his job and marriage. Different from traditional Ozu, the man is a working class man (recalling his characteristically complex Kihachi films during Ozu's silent era). Above all Ozu sympathetically observes the value of life and this working man's search for meaning. Early Spring certainly rates among his most expression social statements of the Japanese work life and the focus seems to be on the younger generation of Japanese society. A generation of rebelliousness and transition into a more Westernized Japanese world. Maybe not among his very greatest masterworks, Early Spring remains a deeply detailed film and among Ozu's emotionally darkest work.

>>> More on Record of Early Spring @ A2P Cinema's Yasujiro Ozu website HERE

>>> The opening moments from Early Spring:

August 30th Log

2007-08-30T23:37:00.000-04:00

STEAMBOAT BILL, JR.
1928, Buster Keaton / Charles Reisner, United States
Repeat Viewing, Turner Classic Movies

Steamboat Bill Jr is one of Buster Keaton's two or three greatest films (at least to me). It's a film that also marked the end of his independently financed silents, as the poor box office results of this and 1927's The General (now viewed by many his greatest film) forced Keaton to sign with MGM. With this change, Keaton lost the creative and artistic freedoms and it showed in much of his work following. Ultimately, Steamboat Bill Jr stands as Keaton's last great accomplishment as a Independent filmmaker. It also marks an end of the silent era. While Keaton would make two more silent films, 1927 saw the birth of sound and cinema soon and forever lost the silent era.Steamboat Bill Jr beautifully displays the essence of silent pictures: to capture emotions through visual imagery. In many ways this film is the quintessential of Keaton and of silent comedies. Keaton's usual themes are evident, as ares ome of the truly classic moments of silent comedy (most notably the legendary storm climax, which features an unforgettable sequence where the entire side of a house falls directly where Keaton is standing. He is not harmed as an open window of the house is the part that falls where Keatonis standing. Incredible!). Steamboat Bill Jr is a masterpiece! An artistic and wonderfully funny representation of a deeply skilled filmmaker who stands among the greatest in the history of cinema.

August 28th Log

2007-08-28T23:01:00.000-04:00

WHEN A WOMAN ASCENDS THE STAIRS
1960, Mikio Naruse, Japan
Repeat Viewing, DVD

"I hated climbing those steps more then anything, but once I'm up, I can take whatever happens". After seeing this for the first time on Thursday I quickly planned a repeat viewing as the film has left an unforgettable mark. I've loved the Mikio Naruse films I've been fortunate enough to see thus far, but When a Woman Ascends the Stairs may be my favorite and a film I'd rate among the very greatest ever made. Keiko is absolutely one of the greatest portraits of any character in film history and the performance by Hideko Takamine is remarkable. She flawlessly captures the beautiful, delicate, proud, and heartbreaking essence of the character, a widow who supports herself as a bar hostess. She represents the traditional Japanese values more then she does the prototypical bar hostess. As she begins to "age" Keiko is torn to the progressions of marriages or of owning her own bar. Keiko is faced with resilience as she is surrounded by a world of disappointment and hopelessness. This expression is represented by the image of the vertical stairs ascending towards the bar, taking Keiko on a path alone through life. Using a smooth jazz score and 1960s Japanese night clubs settings Naruse's bleak, expressionless melodrama is centered on a woman who fights to remain true to herself within the dishonesty and inconsistency of the world around her (notably the two biggest social pressures: men and money). Through subtle and masterful performances and filmmaking, When a Woman Ascends the Stairs becomes Naruse's purest work in defining his mastery of narrative rhythm, and also the definitive work in detailing the Naruse heroine as 'Mono no aware' in the sense that through the conflicts and troubles (be it social or economical) Keiko understands and accepts what is "right" because it is something that must be (even if sad). When a Woman Ascends the Stairs is a bleak and tragic film of brutal emotional and melodrama, yet Naruse's subtle style and Takamine's expressionless performance gives the film a truthfulness that is devastatingly authentic, transcendent, and perhaps even fulfilling.

>> Here are the masterful final moments. A triumphant truthfulness emerges from the heartbreak of her hidden emotion, as Keiko accepts that she has become what she did not want as rightness:

August 27th Log

2007-08-27T22:41:00.000-04:00

THE LAST KISS
2006, Tony Goldwyn, United States
Repeat Viewing, HBO

I was not a really big fan of the 2001 Italian film The Last Kiss so my expectation for this American remake was not so high. However, here is a rare remake that surpasses it's original in every way (except for not being the original). Credit to Paul Haggis whose screenplay, under the direction of Tony Goldwyn, re-imagined the film into something that is much more moving and a whole lot more intelligent and mature. Haggis avoids the peachiness he instilled on his audiences with Crash and shows the skill he has in writing (let's not forget he also wrote Million Dollar Baby which is the best script and ultimately best film Clint Eastwood ever made). There is a great sense of characterization and the film finds the very truth of their behaviors and decisions, such as the way the young girl asks why men always leave her and say it is not her (which tells you all you need to know the guy and especially about her). The ensemble cast is all very strong (I'm unfamiliar with Rachel Bilson but she has a truthful charm, and though Zach Braff always seems dull on screen he still works as the 29 year old who is afraid of entering "the predictability" of adulthood with his pregnant girlfriend). The emotional key here is the parents of the girlfriend (outstandingly played by the always reliable Tom Wilkinson and Blythe Danner). In them the film finds a great balance of the relationships and painful struggle within. The Last Kiss finds a truth of human behavior in this balance and in these characters. This film was a pleasant surprise and I've renewed support for Haggis.

August 26th Log

2007-08-26T22:34:00.000-04:00

STROSZEK
1977, Werner Herzog, West Germany
1st Viewing, DVD

Werner Herzog opens the film with a long shot of a man emerging out of a caged cell and into a world of “freedom”. Only the world of freedom within the grim Berlin environment proves be even more trapped. So the man decides to leave for the land of freedom, the United States and the open landscape of Wisconsin, only to discover yet another bleak world. Herzog’s film is a cynical and dark one made with his usual touch of poetic imagery, irony, and morality. Stroszek is very powerful to its tragic closing moments. I would not rate this is the class of Herzog’s best features, but it is a beautifully made and sympathetic film.

THE GREAT HAPPINESS SPACE: TALE OF AN OSAKA LOVE THIEF
2006, Jake Clennell, United Kingdom
1st Viewing, DVD

The Great Happiness Space is an effective film mostly because it takes us into a world and a culture rarely seen but a world in which complicated human emotions and feelings are universally shared. The films full title is The Great Happiness Space: Tale of an Osaka Love Thief and it takes us into the world of Osaka male club hosts, who’s job is to entertain their female clients by offering them their dreams in a night. The films greatest strength is that it takes us beyond the surface of this world and deep into its complicated and psychological reality. The filmmaker takes a non-judgmental approach and even though the material makes it difficult the film remains fair. Ultimately the film is presented with a reflective sense of irony in that perhaps it is the hosts who are the victims of themselves.

August 25th Log

2007-08-25T22:24:00.000-04:00

HANNAH TAKES THE STAIRS
2007, Joe Swanberg, United States
1st Viewing, Theater

"The most massive tragedy is that nobody ever listens to each other. Everybody's in love with the wrong person and nobody hears what anybody else is saying ever... ever!" Hannah Takes the Stairs follows in the mold of a new American Independent filmmaking movement sparked by the brilliant two films by Andrew Bujalski (who co-stars in this film). Of course Bujalski's friend Joe Swanberg has also been a pioneer of this new Cassavetes-esque movement (or what is being referred to as ‘Mumblecore’) as Hannah Takes the Stairs marks his third feature. The film is a plotless character study that reflects on generation truths about love and communication, or more specifically miscommunication. The film centers around Hannah and her relationship struggles. After breaking up with her boyfriend (played by indie filmmaker Mark Duplass) she finds herself back into a similarly unloving relationship with her co-worker (Bujalski), and we realize she has a stronger connection with the other co-worker. As Hannah, Greta Gerwig is excellent. Her performance is simple and it completely rings true. We understand her, not because the film goes to great detail about the character, but because Gerwig's performance is so genuine. I would not put this on the level of Bujalski's films (Funny Ha Ha and Mutual Appreciation), but Hannah Takes the Stairs is similarly observant in the awkward situations and conversations of a generations complicated relationships, feelings, and communication.

SMOKIN' ACES
2007, Joe Carnahan, United States, France, United Kingdom
1st Viewing, DVD

Smokin' Aces is so consumed with it's style and is a film that is not nearly as clever as it believes or strives to be. It simply is ineffective and comes across as nothing more then a third-rate Tarantino knockoff. Except for maybe a brief appearance by Jason Bateman, the ensemble cast is forgettable and the style is overbearing. I did not like this film.

August 24th Log

2007-08-24T22:54:00.000-04:00

THAT NIGHT’S WIFE
1930, Yasujiro Ozu, Japan
1st Viewing, DVD

That Night’s Wife is a unique film from Ozu in that it is a suspenseful crime thriller, yet it stands among one of his most interesting silent films in the way it emerges into a definitely Ozu film. The simple story centers around an artist who steals money and is chased down by a police detective. When the detective arrives at his home, he is held at gun point by the artists wife. The film is reminiscent of a Hollywood thriller, but the emotional and visual core is purely Ozu, particularly the way the film is concentrates in family and social troubles, as the penniless artists robs the money to pay for medicine for his sick daughter. That Night’s Wife takes place almost entirely within the apartment, and the mood is effectively established as tense and claustrophobic. What truly makes the film definitive Ozu is the rhythm, captured by lyrical visual patterns. Here Ozu uses expressive tracking shots as visual patterns, as well as a specific use of hand expressions to heighten the atmosphere and suspense. Ozu flawlessly edits the visual patterns and motifs resulting in a film that is at once tense, stunning, and poetic. That Night’s Wife is likely to be forgotten among Ozu’s more emotionally-driven silent films, but it remains a truly fascinating work from the master.

>>> More on That Night’s Wife @ A2P Cinema's Yasujiro Ozu website HERE

>>> A clip from from That Night’s Wife:

INLAND EMPIRE
2006, David Lynch, France / Poland / United States
Repeat Viewing, DVD

I had to give this film another viewing. Not so much to unravel it’s mysterious, because David Lynch does not necessarily create the film as a form of narrative explanation but rather a bizarre journey into a dreamworld of vast possibilities beyond rational interpretation. Narratives are not cohesive and time frame overlap. The film is perhaps many things, but I think at the core is the subconscious state of Nikki, most specifically her struggle with art (which is role playing). This is heightened by an unbelievably complex performance from Laura Dern, who is masterfully working on multiple levels. The glorious beauty (beautiful to me at least) of the film fully emerges in its ending, which leaves the viewer into a state of almost spiritual transcendence as all the mysteries seemed contained within the final closeup of Dern’s face, and a final exhale of “sweet”, followed by an incredible dance credit sequence to Nina Simone’s Sinnerman. This film has a spell on me and I expect yet another viewing will be coming soon…

August 23rd Log

2007-08-23T23:46:00.000-04:00

BROKEN ENGLISH
2007, Zoe Cassavetes, United States
1st Viewing, DVD

Broken English marks the debut feature from writer-director Zoe Cassavetes, daughter of pioneer filmmaker John Cassavetes. The results are a mix as the film is successful in many ways it uses conventional romantic comedy elements within a character driven narrative. I think I applaud Cassavetes for this film. It is not overly challenging and it does seem as though she lacks total control or freedom over the film, yet it is a solid debut from a young filmmaker worth watching. I like the way she captures the essential tone and emotion of the film in the opening and this is heightened by a terrific lead performance by Parker Posey. Always underappreciated, here Posey is given a complex character that is the emotional soul of the entire film. It also wonderful to a talented supporting cast including Justin Theroux, Melvil Poupaud, Peter Bogdanovich, and the director’s mother Gena Rowlands. The film ends with an ambiguous and fully satisfying moment.

THE RED SHOES
1948, Michael Powell / Emeric Pressburger, United Kingdom
Repeat Viewing, DVD

The Red Shoes is perhaps the most celebrated film from Michael Powell and Emeric Pressburger. The film is widely celebrated by filmmakers, including Martin Scorsese. In typical Powell-Pressburger fashion, The Red Shoes is a glorious Technicolor extravaganza that blends the art of dance, music, and cinema. Their films often have the look and feel of a fantasy with artificial sets and bold colors yet they manage to contrast a psychological and social reality within these artificial worlds. The film is simple as it centers around A young ballerina (played by Moira Shearer) who is torn between the composer in lover with her menacing impresario who is determined to make her a star dancer. She is forced to choose not only between dance and music, but between art and life, or ballet and love. The red shoes ballet takes the center core of the film, yet it is far from the only highlight, as Powell and Pressburger have created a visually stunning blending of art. The film becomes a celebration of art and of the joy of living. Magical and transcendent the film defines the beauty that makes Powell and Pressburgers films so endlessly watchable and magical. As is just about every Powell and Pressburger film, The Red Shoes is truly one of the essential films of British cinema.

August 21st Log

2007-08-21T23:49:00.000-04:00

THE LOOKOUT
2007, Scott Frank, United States
1st Viewing, DVD

Following a successful screenwriting career (which notably includes two Elmore Leonard adaptations- Get Shorty and Out of Sight) Scott Frank makes his directorial debut with The Lookout. Much like his most likable screenplays, Frank’s film is of the slick crime genre, centering on a former high school hockey star who suffered brain damage in a car accident. As Chris Pratt, Joseph Gordon-Levitt gives a strong performance, easily making you feel compassionate for his emotional and psychological state. In a supporting role, Jeff Daniels gives an equally sincere performance as Gordon-Levitt’s blind friend and roommate. Frank structures the film simply, building sympathy for the two characters and the struggles of their daily routine. It is easily to connect emotionally because Gordon-Levitt and Daniels give convincing performances, most importantly without over doing anything. The second half of the film is more of Frank’s familiar crime genre territory, complete with betrayal and twists. This half of the film is effective but mostly because the first half pulls you in and creates a grim mood of despair and psychological struggle.

PERFECT STRANGER
2007, James Foley, United States
1st Viewing, DVD

James Foley is a underrated director. One that has succeeded within the Hollywood system with a vast range of genre films. As such, Perfect Stranger is a surprising disappointment from Foley. I don’t know if some control or decisions were out of his hand, but with this film Foley seems to get trapped in the Hollywood formula. Perfect Stranger is watchable, but mostly as mindless convention. Yes, Halle Berry is gorgeous and I think she is a fine actress, but film is mostly a mess. The script has a cynical edge and the film attempts to create a mood of sexiness, yet ultimately Perfect Stranger is contrived and rather silly. As the film progresses you learn more about each character and there lies, knowing the film the film is leading to all sorts of twists. In the end, the film reveals it’s phoniness with a weak final twist(s). There are much worse films then this, but Foley has proven he is better then this all too typical “thriller”.

August 20th Log

2007-08-20T22:31:00.000-04:00

A CANTERBURY TALE
1944, Michael Powell /Emeric Pressburger, United Kingdom
Repeat Viewing, DVD

Continuing the month of Powell/Pressburger films with one of the duos very finest... A Canterbury Tale begins with a prologue of pilgrims in 14th century Britain and then within a seamless cut (from a bird to a plane) it jumps 600s years to a parallel time of Britain- the nearing end of World War 2. So begins a strange and wonderful masterpiece from the great Michael Powell and Emeric Pressburger, easily among the greatest filmmakersin all of British film history. A Canterbury Tale is nearly void of plot yet it flows with a poetically fascinating narrative ease. Not a moment is dull and a rich beauty emerges from the dream-like state of the film. War is present and felt, but combat is never shown as war is rather presented almost asa meditative reflection. Breathtaking scenery, witty humor, unusual characters, and a mysterious "glue man" all exist inthis wondrous world that seems to be equally authentic and yet unlike anything else. But of course that combination is very common in Powell and Pressbuger films, and A Canterbury Tale perfectly represents the spirit of their Archers Production. With repeat viewings the smaller details (notably the humor within the dialogue) became much more apparent. But above all it is the sheer magical way Powell and Pressburger captivate the viewer into this world with a plot is that is completely non-existent. The narrative just flows with such ease and because it's not tied down to plot the wonder and even the poetic beauty begin to emerge. What a lovely performance by Sheila Sim as the 'Land Girl' Alison Smith. A Canterbury Tale is such a unique, and special film. It is one of their very best films (in the class of A Matter of Life and Death) and among the greatest of British cinema. A masterpiece!

August 19th Log

2007-08-19T22:54:00.000-04:00

THE BOURNE ULTIMATUM
2007, Paul Greengrass, United States
1st Viewing, Theater

The Bourne trilogy completes with this final installment which is a non-stop adrenaline thrill ride that proves the series has not lost it’s momentum. In Bourne Supremacy talented director Paul Greengrass takes us on an action filled ride that is not dissimilar to the previous film, Bourne Supremacy (also directed by Greengrass). His preference for quick editing and constant hand-held camera photography fits well with the material. Essentially this film is working strongly within genre conventions, yet Greengrass tries to excel beyond conventions in the filmmaking. Successful or not, the film sure is exciting, and (as in the previous Bourne film) features some of the most intense chase sequences of it’s kind. I really don’t think the camera is ever steady or not moving, and the action follows suit as it never lets up. Here we find Jason Bourne, effectively and confidently played by Matt Damon, in a continuous search to discover who he is and as he gets closer more is revealed and the more trouble he finds himself into. In the end he finds himself back at the beginning and it seems a fitting conclusion to the series. I think all three Bourne films are successful in their own way and if there is a difference between them it probably lies in the adrenaline filled action, which seems to increase with each film.

MARIE ANTOINETTE
2006, Sofia Coppola, Japan / France / United States
Repeat Viewing, DVD

Marie Antoinette is very representative of Sofia Coppola’s cinematic style and themes. I love this film in every way. I think because above all, it is one of feeling. Coppola is less interested in ideas (be it political, historical, or psychological). Her interest is in mood, in gestures, tones, themes, and sensibilities. Those looking for intellectual or historic depth may be left disappointed, because this is a film at its best when playful and silly. That is not to say the film is without meaning and importance (or focus). The film distances the viewer from the past and period drama through modern effects (such as the unexpectedly non-distracting new wave music, or the removable of language accents), Coppola ultimately captures an emotional truth. At its core this modernized approach expresses the playful spirit of a young woman’s emotional and physical state. A dreamlike world of being entrapped into an unfamiliar environment of loneliness, and the longing for teenage freedom and possession (as well as rebellion). Often dialogue is never needed here. Through dazzling visuals, set designs, costumes, and makeup Marie Antoinette pitch-perfectly evokes this emotional expression. Based on a sympathetic biography of Maria Antoinette, Coppola is deeply compassionate towards her. Ultimately this is a film of Coppola’s key expression, which is that of a lonely, imprisoned girl who retreats to her own private world of imagination but is destroyed by the uncontrollable desires within (being a young woman). Coppola opens and closes the film with two distinct shots of masterful expression. A truly great filmmaking achievement!

August 18th Log

2007-08-18T23:46:00.000-04:00

CHARLOTTE’S WEB
2006, Gary Winick, United States
Repeat Viewing, Movie Under the Stars

Another summer night screening under the stars at a local park… Far more faithful and imaginative then the 1973 animated version of the classic children’s tale, this adaptation does not disappoint any age group. The story is a rightful classic on universal themes of friendship, life, prejudice, sacrifice and ignorance. This film succeeds where the animated version failed in that it never pushes the content with forced sentiment (though it certainly does not completely avoid sentiment). The result is a charming and compassionate film that takes on the magical qualities of its original source. There are so many valuable lessons to this film and it is one that should be endeared by all ages. The voice-over work of the animals is strong for the most part (though I imagine there are better options for Charlotte then Julia Roberts). Steve Buscemi may be a bit type-cast as Templeton the Rat, but he is memorable. Dakota Fanning doesn’t always work for me, but she gives Fern just the right children-like charm without the overstuffed “cuteness”. Charlotte's Web is a wonderful tale and this film is a surprisingly wonderful adaptation of it. If Charlotte were to capture the qualities of this film on her web with one word my suggestion would be: sweet. This is a very good family film!

August 17th Log

2007-08-17T23:35:00.000-04:00

BECOMING JANE
2007, Julian Jarrold, United Kingdom / United States / Ireland
1st Viewing, Theater

Miramax is still looking to find the Oscar success they gained with 1998’s Shakespeare in Love using the similar formula for J.M. Barrie (Finding Neverland) and now the great Jane Austin. While not bad films, they both the charming imagination that made Shakespeare in Love such a success. One thing that film did was not take itself too seriously or fall into the clichés of the standard bio picture. I am a very big fan of Jane Austin as a person and an especially an author, but I don’t think I’m just being a fan when I say it is unjust to simplify her work with something such as event A equals event B, which tends to be a common occurrence in traditional Hollywood biography films, and ultimately that is what this becomes. We are told this film is a loosely taken by what inspired Austin’s masterpieces yet the film is completely uninspiring and unimaginative, lacking any sense of warmth, or clever wit common in Austin’s work. The film tries desperately to make obvious references to each of Austin’s beloved novels, taking characters, events, and even dialogue directly from them all (especially Pride & Prejudice, perhaps her most beloved novel). The film has it’s moments (such as the opening scene at least up until the forced line “That girl needs a husband”, as well as the discussion of Tom Jones, or Austin’s witty insight into irony). Despite some arguments against her in pre-production, I like Anne Hathaway as Austin and she does a fine job. Hathaway has a star quality in both her presence and intelligence. She seems to understand stardom (her wise selection in films roles stands as evidence) and for that I imagine she will be around for quite some time. Becoming Jane is entertaining enough, but the film lacks the Austin touch, instead feeling forced and overly melodramatic more so then witty or charming.

INSIDE MAN
2006, Spike Lee, United States
Repeat Viewing, HBO

"Let's keep the real bad guys off the streets" says Denzel Washington near the end of the film, which seems to be making political statements with the standard conventions of genre filmmaking. With his latest film, The Inside Man, Spike Lee is doing something much different then he has ever done: a standard Hollywood genre heist film. While Inside Man is full of conventions and standard cliches it remains top-notch genre filmmaking. Lee manages to gives genre standards some complexities and the result is a deeply involving and rewarding film from start to finish. The film is not packed with an overload of twists (particularly towards the final act) as would be expected with this type of heist film. Lee structures the film with skill, also blending in some non-linear flashbacks to keep the audience thinking and interpreting their own conclusions. The film manages to be both fully engaging and entertaining while Lee still is able to subtly express his more traditional political and human elements all without ever losing focus or control of the direction. Inside Man is beautifully made and shot and also features some interesting music and outstanding dialogue and performances by the star-studded cast (lead by Denzel Washington, Clive Owen, Chiwetel Ejiofor, and Jodie Foster). Denzel is especially good in a Bogart-esque detective role (clothes, hat, and tough fast-talking dialogue included!) Maybe not on the masterpiece of its filmmakers greatest work (Do the Right Thing, 25th Hour), but Inside Man is an excellent film on many different levels.

TOKYO CHORUS
1931, Yasujiro Ozu, Japan
Repeat Viewing, DVD

Tokyo Chorus is a wonderful introduction of Ozu during the silent era. Thematically you can certainly see that Ozu later built upon what he developed early on here, and stylistically there is clearly a more Hollywood influenced approach. The film is tragic yet deeply hopeful at the same time. One of the key examinations of the film is the contrast between urban and suburban living, but ultimately this is a film of parenthood in it's very essence. The film is remarkably moving particularly in the way Ozu captures (without sentiment) the childrens acceptance and understanding of their fathers work simply as a means to provide them with food. There are some remarkable images and sequences within this film that are very memorable and Ozu blends his definitive mix of humor and bittersweet sadness. Above all, Tokyo Chorus displays the early depicts of a poetic master.

>>> More on Tokyo Chorus @ A2P Cinema's Yasujiro Ozu website HERE

>>> A clip from Tokyo Chorus:

August 16th Log

2007-08-16T22:35:00.000-04:00

PEEPING TOM
1960, Michael Powell, United Kingdom
Repeat Viewing, DVD

All this month I have been watching or rewatching the films from the great British filmmaking team Michael Powell and Emeric Pressburger. The Powell-Pressburger team ended in 1957, and shortly afterwards Powell would go on to direct the Peeping Tom. Peeping Tom is not a film for everyone. It's a disturbing film which was highly controversial upon it's release in 1960. Dealing with the uneasy subject of a psychopath who draws in women with his film camera and then records their death. Sadly, this films backlash all but ended the career of one of Britain's greatest filmmaker's Michael Powell. Powell's direction is flawless, and alone is reason enough to see the film. Right from the brilliant opening shot perspective through the lens, Peeping Tom's breathtaking photography is established. Even if the film is difficult to watch at times, it still is fascinating and hard to look away. More so then a slasher film, Peeping Tom is ultimately a character study of psychotic behavior. The images may not be as disturbing for today's standards, but Peeping Tom's impact and daring filmmaking make it an unforgettable classic from an unforgettable filmmaker.

August 15th Log

2007-08-15T23:43:00.000-04:00

INLAND EMPIRE
2006, David Lynch, France / Poland / United States
1st Viewing, DVD

Inland Empire marks David Lynch’s first digital video feature and it very well may be his most experimental film since his masterful 1977 debut Eraserhead. At an uncompromising three hours long and without a conventional plot, Lynch’s surrealistic epic will undoubtedly divide audiences. However, fans of the director or those aware of what to expect will appreciate what appears to be a definitive Lynch film as a reflection of his art. The film goes beyond rational interpretation instead becoming a bizarre journey into a subconscious dreamworld of vast possibilities to interrupt. These possibilities are more to be experienced then they are interpreted. Inland Empire rejects a single or even a cohesive narrative, instead overlapping several timeframes and narratives. At once Inland Empire is a film within a dream within a film, reflecting on a woman’s role in Hollywood, a murder mystery, an underground world, and several love affairs. Ultimately the film becomes a meditative exploration deep into the psyche and confused subconscious of its character. Playing an actress, an abused wife, and a prostitute Laura Dern gives an unforgettable performance that honestly belongs mention among the very greatest. Dern is brilliantly working on various levels as she intensely pushes through the complicated and terrifying hallucinations and dreams (or nightmares) of Lynch’s vision and of her own mind. Stylistically, Lynch expresses the film through his trademark use of scattered sounds and visuals (notably the expressionistic use of lighting, the obscure close-ups, and the carefully positioned color patterns). Heightened by Dern’s sweeping performance, Inland Empire is a surrealistic film that challenges and struggles with you. So much so that in the end all you are left is admiration, and the one thought that is perfectly captured in the final shot (before a wonderfully strange closing credit group dance sequence to Nina Simone's Sinnerman)… sweet indeed!!

>>> I have added this film to the ongoing list of
ALTERNATE ESSENTIALS OF AMERICAN CINEMA

August 14th Log

2007-08-14T22:18:00.000-04:00

VACANCY
2007, Nimrod Antal, United States
1st Viewing, DVD

After reaching wide acclaim with his international hit debut feature Kontroll, Nimrod Antal returned to America to direct his next film in Hollywood. Vacancy opens with a impressively stylish title sequence before taking us into the car of its lead characters: a troubled married couple who fight with each other about everything. After they experience car problems, they are forced to spend the night at a hotel, which ends up being a place where snuff films are made of those who stay in the rooms. The film is intended to keep you uncomfortable and while it does succeed in that respect, overall Vacancy is nothing more then formulaic. The script is weighed down by the obvious clichés and where as Alfred Hitchcock mastered suspense through minimal techniques, Vacancy piles it on. Like most of these Hollywood thrillers, Vacancy is flawed by its script, particularly in the final act. On the positive side, Kate Beckinsale and Luke Wilson are convincing as the troubled married couple who attempt to survive and unsurprisingly end their divorce plans. This is definitely not a bad film, especially in the more effectively absorbing first half.

August 13th Log

2007-08-13T22:56:00.000-04:00

DAYS OF WINE AND ROSE
1962, Blake Edwards, United States
1st Viewing, DVD

Days of Wine and Roses opens with a beautiful title sequence (heightened by a terrific Academy Award winning song) that sets the tone for the entire film- roses underneath the surface of water. This opening sequence establishes such a feeling, a drowning. Here are two souls deeply in love and happy together, yet they are slowly drowning themselves. Days of Wine and Roses is quite a change of pace for Blake Edwards in terms of emotional tone, yet the impact remains effective and here is a film that still holds true today. It’s examination into a perfect married couples alcoholism may not be a striking today, yet at it’s emotional core, the power of this film remains honest and heartbreaking. The reason for this may be not only because of Edwards skillful and clever direction, but most of all the incredible lead performances from Jack Lemmon and Lee Remick. The film leaves on a heartbreaking final note, as Remick admits to unwillingly give in to her own selfishness, and Lemmon watches her walk away from him and her daughter (with the blinking presence of a nearby Bar sign flashing). I think I prefer a couple Edwards films over this, but I can’t deny the powerful mark it leaves. Truly a film in which the viewer is absorbed as though drowning in it, Days of Wine and Roses is beautifully made, brilliantly performed, and emotionally powerful filmmaking.

August 12th Log

2007-08-12T23:08:00.000-04:00

49TH PARALLEL
1941, Michael Powell / Emeric Pressburger, United Kingdom
Repeat Viewing, DVD

Michael Powell and Emeric Pressburger make up one of the greatest writer-director teams in the history of cinema. Together they made 19 feature films under there trademark ‘Archers’ name. 49th Parallel is the first film the British duo made together and it ultimately was the first of two films Powell and Pressburger were nominated for Best Picture (The Red Shoes being the other). Pressburger won the Academy Award for best Screenplay with this film. The 49th Parallel is a good and important film, but one I would not consider among the best from Powell and Pressburger. Today it stands a bit more dated in its propaganda slant, but the Powell-Pressburger magic gives it something to hold on to. They have a way of making films that bring out the pure imagination of cinema and filmmaking. The performances are a bit overdone (specifically from Laurence Olivier), but this is exciting and extravagant filmmaking, which can be viewed as propaganda but also has a twisted sense of sympathy for the Nazi enemy. 49th Parallel features some of there trademark ‘artificial realism’. They are filmmakers that create universes and somehow that seems to make the whole idea of this film more intriguing as wartime propaganda, or as a thriller. Powell and Pressburger just know how to make a film and though they would later go onto to make far superior work, 49th Parallel is well worth viewing.

August 11th Log

2007-08-11T23:02:00.000-04:00

THE FABULOUS BAKER BOYS
1989, Steve Kloves, United States
1st Viewing, DVD

The Fabulous Baker Boys is an excellent and seemingly forgotten film. Opening with a moody jazz number over atmospheric images of Seattle night the film is an impressively visual work. The lighting and fluid camera movement is provided by acclaimed cinematographer Michael Ballhaus (most known for his excellent collaborations with Martin Scorsese). However, the beauty of cinematography is heightened by the skillful acting and most especially direction from Steve Kloves. In his directorial debut, Kloves effectively uses the strong performances within the visual patterns and mood of the film to create the drama and the subtle doses of humor. The cast is terrific. Real life brothers Beau and Jeff Bridges have a natural chemistry and Michelle Pfeiffer provides the sexy star power. As Susie Diamond, Pfeiffer is given a true star entrance here and she gives perhaps the best performance of her impressive career (also providing a great singing voice). The Fabulous Baker Boys wonderfully draws out the depth of each character (and there individual loneliness) through mood and visual compositions, and like the performances of the cast, nothing is overstated. The film is one that observes the presence of change and ultimately of handling change. After 31 years together, Susie Diamond represents change for the brothers. Beautifully performed, shot, scored and directed The Fabulous Baker Boys is an absorbing work that should not be overlooked.

DISTURBIA
2007, D.J. Caruso, United States
Repeat Viewing, DVD

I saw this in the theater a while back, but decided to give it another viewing on DVD. Alfred Hitchcock’s films continuously get remade in all sorts of forms, even if indirectly. Disturbia is not a direct remake, but certainly one that uses the basic premise of the 1954 masterpiece Rear Window. Here the film is transformed into a new age of technology and through young suburban teenagers. While nowhere close to the level of Hitchcock’s masterwork, Disturbia is actually pretty effective. At least for the first two thirds of the film, as the last portion resorts to the unsuspenseful “scare” tactics including sudden bursts of loud noise. What makes Hitchcock such as master is that he never needs to resort to such tactics, and instead he played with the minds of the characters and the audience. I guess it is unfair to compare this film to one of the greatest in the history of American film, so for the most part Disturbia is effective. There is a sexual tension to the film that might have been more fully developed (rather then implied) had it been rated R, but clearly this is marketed more for a teenage crowd- notably for the many young fans of rising star Shia LaBeouf. LaBeouf like the rest of the cast is not bad, but the best performances come from the supporting roles (Carrie Ann Moss as the mother, David Morse as the villain, and newcomer Sarah Roemer as the beautiful new neighbor/love interest). Surprisingly, it is Roemer that stands out most memorable. Above all the film is entertaining and gripping most of the way, before losing track in the finale.

August 10th Log

2007-08-10T23:26:00.000-04:00

WOMAN OF TOKYO
1933, Yasujiro Ozu, Japan
1st Viewing, DVD

I FINALLY got to see this Ozu film (all be it on a poor quality DVD)!! Woman of Tokyo is one of Ozu's most emotionally powerful and bleakest films. The story centers around Chikako (played by Yoshiko Okada), a poor woman living with her brother Ryoichi (Ureo Egawa). Chikako supports her brother through his schooling by working as an office typist during the day and secretly as a prostitute at night. When her secret becomes known through gossip, Ryoichi becomes angry and ashamed of Chikako, despite her self sacrifice of supporting him financially. Many have compared this to the films of Kenji Mizoguchi, and while the observation is justified, Woman of Tokyo is essential Ozu in it's style. The beauty of the film is the way Ozu brings it together visually. While there are not as many of his trademark "pillow shots" seen in his later work, here Ozu uses visual patterns to bring the film together on a rhythmic level. Objects (such as socks, teapots, lamp posts, clocks, sinks) become pivotal motifs in the patterns and transitions of scenes, which ultimately create the rhythm of the film. A socially aware examination in Ozu's definitive theme of family separation, as well as an emotionally tragic and compassionate melodrama, Woman of Tokyo leaves it's mark an incredibly powerful work from a master filmmaker.

>>> More on Woman of Tokyo @ A2P Cinema's Yasujiro Ozu website HERE

>>> The opening moments from Woman of Tokyo:

THE MONSTER SQUAD
1987, Fred Dekker, United States
Repeat Viewing, DVD

The Monster Squad was a childhood favorite of mine when I was 11 years old. Perhaps its nostalgia, but watching this again it remains a good film to me. Silliness and plot holes aside, there is a fun appeal to this film that makes it still entertaining. Like a blend of The Goonies and Ghostbusters for preteens, The Monster Squad cleverly plays with genres while also recreating some of the classic monster icons (Dracula, Mummy, Wolfman, and of course Frankenstein's Monster). The film is a whole lot of fun even for its goofiness. The Monster Squad can now finally be celebrated on a 2-disc Special Edition DVD, as the films cult fanbase petitioned for the DVD release.

August 9th Log

2007-08-09T22:56:00.000-04:00

MUTUAL APPRECIATION
2006, Andrew Bujalski, United States
Repeat Viewing, Sundance Channel

“I would like to say whatever I want. I mean I would like to talk about real things with you… Reality would be nice to talk about, its just that we never get to that point really.” This is a revealing moment of dialogue in writer-director Andrew Bujalski’s sophomore feature film Mutual Appreciation. It is dialogue tat seems to embody the spirit of Bujalski’s filmmaking and most important the spirit of this film and its characters. Characters who endlessly talk about seemingly meaningful conversation that is ultimately dancing around the root of its intentions (with the only exception coming from the source of truth, which is getting drunk). As in his previous gem (Funny Ha Ha), Bujalski’s features an improvisational and plotless style which through characters and dialogue examines how we express (or do not express) ourselves. There is a pitch-perfect combination of humor and charm, but there is also an awkward and even frustrating feeling as we observe these characters hide or disguise there feelings from one another. There is always something lurking or hanging in the background which creates a mood of suspenseful tension and chemistry with the characters. Also like Bujalski debut Mutual Appreciation evokes a sense of reality yet is also distance and very understanding that it is a film. These characters are both like and very unlike us and this gives the film its charm as well as a timelessness. Bujalski’s again features a cast of what seems to be his close friends (including Funny Ha Ha’s lovely Kate Dollenmayer, who makes a brief but memorable scene-stealing appearance here). The film is full of highlights (of course the Dollenmayer scene is especially wonderful) right up to its abrupt and open-ended conclusion. Mutual Appreciation is a genuinely sweet and awkward romantic comedy from a filmmaker who has emerged as a contemporary John Cassavetes of filmmaking. Funny Ha Ha is a masterpiece, and Bujalski’s has followed it up with an equally brilliant feature. Maybe it is an acquired taste for some, but I love his work and will continually revisit and cherish these films! “Group hug!”

August 8th Log

2007-08-08T23:57:00.000-04:00

LINDA LINDA LINDA
2006, Nobuhiro Yamashita, Japan
1st Viewing, DVD

I REALLY enjoyed this little film. I plan on watching it again later this month, so I will share more comments then. For now, I’ll just say it is a whole lot of fun and the always wonderful Bae Doo-na gives another fantastically simple yet complex performance as a Korean exchange student that agrees to join a Japanese high school rock band. The film grabs you from it’s opening moments and never lest go. I’ll be singing that title song in my head for awhile after this one!!! “Linda, Linda… Linda Linda Linddddaaaaa”

ARE WE DONE YET
2007, Steve Carr, United States
1st Viewing, DVD

Are We Done Yet’s script is loosely based off the 1948 comedy Mr. Blandings Builds His Dream House, a flawed film that survived on it’s star-quality charm (with three greats: Cary Grant, Myrna Loy, Melvyn Douglas). This film does not have the star-charisma of that film, nor the laughs, but the cast is likable enough to keep the film from being unwatchable. Problem is, the film had it’s success with the first film and now we get the common case of an overblown and pointless sequel. The film not only recycles what worked with it’s processor, but it seems to be recycling everything we’ve seen endless times in Hollywood family comedies (including an overuse of the “animal gone wild” jokes). Ice Cube is likable and can carry these films in a lovable cartoonish kind of way. This film is not all that bad really. If you like Are We There Yet? (which I did), you will probably enjoy most of this film. It lacks originality, but if your in the right mood and willing to accept the film for what it is, you may find yourself enjoying this family comedy.

August 7th Log

2007-08-07T23:28:00.000-04:00

I THINK I LOVE MY WIFE
2007, Chris Rock, United States
1st Viewing, DVD

Chris Rock’s second feature film as director (his first was the flawed but occasionally witty political satire Head of State) marks a distinctive move towards a new type of career, one that has equally emerged in his profession as a comedian. Here Rock takes the bold and perhaps surprising attempt at reimagining French New Wave auteur Eric Rohmer’s 1972 film Chloe in the Afternoon, the last of Rohmer’s “Six Moral Tales” series. Rock reimagining Rohmer would seem an odd fit, yet at Rock’s comedic essentials lie within the core of Rohmer’s film, which is focused on marital infidelity. There differences lie in comedy sensibilities and ultimately Rohmer’s moral depth is greater drawn and ultimately a superior film. However, Rock certainly does enough to entertain and is also rather insightful and clever in the way he captures martial fiction, temptation, and African American middle-class lifestyle. The film effectively mixes Rock and Rohmer’s style while respectfully reimagining the original film. I Think I Love My Wife is not without flaws, and it closes with a questionable forced ending which clearly lacks the moral dilemma and female character development of Rohmer’s film. Rock never fails to keep the viewer interested and laughing, and he is supported by a fine cast (including the always terrific and versatile Kerry Washington, here displaying her seductive beauty as the fantasy woman). While not everything works, I applaud this film and enjoyed it on various levels.

PECKER
1998, John Waters, United States
Repeat Viewing, Encore

You know you are always in for something different when it comes from John Waters, Baltimore’s independent king of gross-out shock humor. With his 1998 film Pecker he seems to draw parallels with his own filmmaking roots, and clearly he presents the “arty” world of New York in a negative light. But overall the film is a lot of fun and very funny. There are some great characters (Pecker’s sugar-obsessed little sister) and quirky moments (the colored dust that shoots across the screen) that really make this such an appealing film. Waters focus is more lighter then some of his other films, but the result is one of his funniest films to date. While I do respect his impact and originality as an independent filmmaker of American cinema, not everything Waters does works for me, but I guess that is to be expected and I guess that is what makes his originality so likeable. Pecker may be Waters at his most "mainstream" and perhaps that is a good thing, because to me it's his best film outside of his endlessly fun masterpiece 1988 Hairspray (at least of what I have seen from Waters to date).

August 6th Log

2007-08-06T23:17:00.000-04:00

PERFUME: THE STORY OF A MURDERER
2006, Tom Tykwer, Germany / France / Spain
1st Viewing, DVD

The task of adapting Patrick Suskind's acclaimed best selling novel into a film is a challenging task because of its reliance on the sense of smell. Some filmmakers have the masterful ability to capture the sense and some thrive on such limitations (it is said that Stanley Kubrick, Martin Scorsese, Tim Burton, Ridley Scott, and Milos Forman all had interest in adapting this film). The film is directed and cowritten by talented German filmmaker Tom Tykwer, who reached international acclaim with his 1998 film Run Lola Run. Tykwer has since made some good films, including his last feature Heaven, which to me remains his best work. Tykwer himself is limited as a filmmaker and the result is a bold attempt that is ultimately executed poorly. Weighed down by John Hurt’s voice narration, which unoriginally reminds viewers of Lars von Trier’s Dogville, Perfume never provides the depth or insight into the tortured psyche of its character. The performances are not bad, but they fail to draw any emotional connection (or even disconnection) to it, which essentially defines the entire film. It was Kubrick himself who proclaimed the book unfilmable, but it would have been interesting to see him try.

7TH STREET
2003, Josh Pias, United States
1st Viewing, DVD

7th Street is Josh Pias’ love letter to his neighborhood- New York City’s East Village, which was once a drug infested ghetto that has since been converted to a place of upper class yuppies. The film is nostalgic in everyway as Pias makes it about his life growing up on 7th Street and the neighbors he grew up with. Ultimately Pias makes it a film about community and togetherness and he urges those of his new neighborhood to find the togetherness that made 7th Street such a wonderful place to be apart of. Pias does not neglect change, rather reflecting on its positives and negatives but above all the film captures the joy of community and cultures as a celebrated one. Even though Pias nostalgia is evident and obvious the film is a sincere one. My interest in the film was sparked by a desire to seek out more work from Linda Hattendorf, who directed the excellent 2006 documentary The Cats of Mirikitani and serves as editor on this film.

August 5th Log

2007-08-05T23:06:00.000-04:00

THE SHOOTIST
1976, Don Siegel, United States
1st Viewing, Turner Classic Movies

The Shootist is the final film of legendary star John Wayne. It is a film that stands as a wonderful tribute and swan song of an iconic figure in American film history. The film is directed by Don Siegel at his trademark skilled pace and sense of realism. Siegel keeps the action and plot minimal, instead focusing on character development, or more specifically on John Wayne. Amazingly, Wayne was not the first or even second choice for the film, but when he was offered the part it completely transformed into a definitive role and a tribute to his significant career as both an American actor and an American symbol. Of course Wayne’s health problems on the set parallel those with that of his character here. James Stewart took a small role in the film to honor his good friend, whom he previously starred alongside with in John Ford’s 1962 masterpiece The Man Who Shot Liberty Valance. Also, Lauren Bacall gives a terrific performance as the widow mother who runs the house that Wayne decides to spend his final days (a young Ron Howard plays her son). The Shootist is an important final tribute to an important actor. Being John Wayne’s last film, the significance of The Shootist takes on more depth and it seems even more fittingly significant as a tribute to his career and persona.

RIO GRANDE
1950, John Ford, United States
Repeat Viewing, DVD

Rio Grande is the third and final film of John Ford’s ‘cavalry trilogy’, and it also marks one of the pivotal works into his emergence as an individual artist outside the studio. Though Rio Grande was made within the studio, Ford (as he was able to do with many of his greatest films) worked within the conventions to create his own personal vision of artists filmmaking. Rio Grande is a film that is so carefully and beautifully made and one in which the small moments truly shine. As often with Ford, who was a visual poet, the most subtle moments can be the most impacting of the film (I love the shot of John Wayne peeking into the window at his son). It is these Ford moments that capture all it’s expression through visuals alone. Of course Ford’s mastery as a storyteller is never lost, and Rio Grande has something for everyone to enjoy- action, romance, comedy, and a great cast of many Ford-regulars). This is the first of many collaborations between Maureen O’Hara and John Wayne, who would also star in Ford’s next film The Quiet Man. Rio Grande features many of Ford’s themes on honor, and courage. However, the emotional core of the film is the contrasting of patriotic duty and family responsibility. This is where the strength of the film lies and in the hands a of great filmmaker Rio Grande becomes a wonderful film. I can’t say the film is as flawless as some of Ford’s very greatest masterworks, but this remains a great film in it’s own right.

August 1st Log

2007-08-01T23:45:00.000-04:00

A MATTER OF LIFE AND DEATH
1946, Michael Powell / Emeric Pressburger, United Kingdom
Repeat Viewing, DVD

What a wonderful film this is! Classic, romantic intelligent, charming, imaginative, and absolutely lovely! Made in one of the greatest years in film history and by two of British's most legendary filmmakers: Michael Powell and Emeric Pressburger. Together they collaborated on almost 20 films, and to me, this is their finest. This is really a very simplistic fantasy story, but Powell and Pressburger extend it beyond the heights of standard filmmaking and into a magical world of ambitious vision, fairy tale, and beauty. The dialogue is wonderful and the film features glorious and vibrant Technicolor cinematography (earth) contrasted with sharp black and white (heaven). There is also some fabulous performances (notably by David Niven as Peter Carter) and strikingly inventive and creative visual techniques that Powell and Pressburger explore. Some of the originally intended themes (wartime propaganda) of the film (particularly within the trial sequences) is dated, but the true core and appeal of this classic film is undeniable, as it transcends far beyond it's narrative or themes. A Matter of Life and Death is a film that has the magical power to lift the viewer and carry them away into it's emotionally involving and visually beautiful world of sheer imagination and romance. "We won. I know darling."

THE DARWIN AWARDS
2006, Finn Taylor, United States
1st Viewing, DVD

Writer-director Finn Taylor follows up his sleeper hit success with his third film The Darwin Awards. I did not like this film, but like Cherish I can see this being a sleeper indie success and Taylor is likely to gain a small cult following. To me The Darwin Awards problems lie in the writing, which come off as far to contrived to work as either dark satire or witty screwball comedy. The film centers around The Darwin Awards (http://www.darwinawards.com/), which “honour people who ensure the long-term survival of the human race by removing themselves from the gene pool in a sublimely idiotic fashion.” On paper this could work as a comedy, but the film is executed poorly, as it tries to blend some sort of mockumentary style within the fictional narrative. It only ends up make the film irritating and contrived for occasional cheap laughs. The film features a well known cast and the performances are not bad (the smaller roles such as those from Robin Tunney and Juliette Lewis stand out as most memorable).

A2P Cinema August Feature Film

2007-08-01T07:01:00.000-04:00

TAKE CARE OF MY CAT

Jeong Jae-eun . 2001 . South Korea

>> more @ a2pcinema.com

July 31st Log

2007-07-31T23:31:00.000-04:00

RESCUE DAWN
2007, Werner Herzog, United States
1st Viewing, Theater

After making several acclaimed documentaries, the great German auteur Werner Herzog returns to fictional filmmaking with Rescue Dawn (his first since 2001’s Invincible). Among the most evident themes of Herzog’s films is that of human obsession or madness, and the chaos of nature. Almost as a parallel to Herzog himself perhaps, the leading characters of his films are often ambitious and determined characters that are driven by destiny or personal desire. Here Herzog returns to one of his favorite subjects, Dieter Dengler. In 1997, Herzog made the brilliant documentary Little Dieter Needs to Fly and Rescue Dawn is a fictionalized retelling of the story. While probably the most commercial and widely accessible film of Herzog’s career, Rescue Dawn re-imagines the essence of his themes, particularly that of man versus nature or more specifically the jungle. Through wonderful storytelling and pacing as well as flashes of poetic imagery Herzog has created a mainstream action survival film that remains rooted in the definitive core of Herzog’s artistry. The film handles some moments questionably (notably the politics and exaggerated Laotian soldiers), yet Herzog’s focus is the battle with the jungle and the landscapes and the mental state of the characters. Less haunting then Little Dieter Needs to Fly, Rescue Dawn is a gripping film with absorbing storytelling.

HOT FUZZ
2007, Edgar Wright, United Kingdom / France
1st Viewing, DVD

After the critical and box office success of Shaun of the Dead, writers Edgar Wright and Simon Pegg reteam for the action comedy Hot Fuzz. Much like Shaun of the Dead was an embracing spoof, Hot Fuzz takes on the Hollywood action films, specifically the buddy action films. Pegg plays an overworking police officer who is transferred from London to a small town where he finds himself stuck in a place without crime and with a partner who’s only interest in police work is imagining he’s in a Hollywood action film (such as Bad Boys 2 or Point Break). The film has a lot of fun working in and around the clichés, capturing the fun and the silliness of Hollywood action. The film is very clever and Wright has a sharp and clever visual eye as well as comic timing with editing, making this a great comedy for both it’s witty dialogue and visuals. The cast is lead by Shaun of the Dead leads Pegg and Nick Frost, and also features some acclaimed British actors (Bill Nighy, Jim Broadbent, Paddy Considine, Timothy Dalton). There are also a couple clever cameo performances including Steve Coogan, Peter Jackson and in a hilarious early scene Cate Blanchett as Pegg’s girlfriend in London. Much in the way Shaun of the Dead was, Hot Fuzz is intelligent and funny and sincere. The film embraces what we love and love to hate about Hollywood action films.

MICHELANGELO ANTONIONI (1912-2007)

2007-07-31T08:36:00.000-04:00

MICHELANGELO ANTONIONI

09.29.1912 - 07.30.2007

The same night the film world lost Ingmar Bergman, it also lost another one of the greatest living filmmakers: Michelangelo Antonioni, perhaps the greatest Italian filmmaker in the history of cinema, who died Monday night at the age of 94.

Truly a sad day… For Bergman is the filmmaker that open my eyes to world cinema, and Antonioni is the one whom inspires me to want to be a filmmaker. I listed Antonioni at #19 on my list of the top filmmakers. Here is what I wrote last year:

Very much like Federico Fellini, the earliest filmmaking development of Michelangelo Antonioni is in Italian Neorealism, where he began making documentary shorts about the working class. However, also like Fellini, Antonioni quickly abandoned the traditional sense of Neorealism (an era marked by Roberto Rossellini, Vittorio De Sica, and Luchino Visconti) in favor of his more abstract cinema. As a result, Antonioni is perhaps (to me anyway) the greatest expressionist and visual master in the history of Italian cinema. Antonioni’s films are less narrative conventions then they are experimentations of cinematic narrative. While Neorealism used social environments to define humanity and character, Antonioni uses environment and character in a mysterious and simplistic form of psychological expression. Antonioni’s concern is focused on the actual environment itself, just as much as it is with the characters of the environment. It is the environment that is a reflection of the characters and the emotional significance is an expression of the psychological state of mind of the characters. Antonioni’s particular fascination is modern architecture to convey the emotional state of his characters- which is generally distant, alienated, and lonely. It is this visually expressive examination of loneliness and alienation that Antonioni particularly masters. Especially in the way it is captured through environment. As such, landscapes and spaces become most prominent and memorable in all his work. This may be most evident in Antonioni’s richest period (1960s- notably his loose trilogy which begins with his most acclaimed film L’Avventura and concludes with his masterpiece L’Eclisse). Made in 1962 L’Eclisse is Antonioni at the peak of his artistic mastery, notably the incredible final montage sequence which captures his quintessential representation of space and landscape as a form of expression (as we see the films world through the backdrop, absent of it's characters). To me the film stands as one of the very great achievements of visual expressionism ever put on film and the final montage is a perfectly executed display in cinema at it's purest artistic form (images and sounds). Because of his reliance on environment as an expression of emotion, few filmmakers depend on their visual imagery more then Antonioni (at least since the invention of sound). As a result, many of his films and expression are done with silence- or as a “feeling”. That is where the narrative key of his films lie, as above all Antonioni is a filmmaker who searches for the feelings within human beings that live in a world where feelings are hidden inside. Images express feelings more effectively then dialogue, particularly the feelings that are most prominent in Antonioni’s films (loneliness, discomfort, sorrow). Antonioni finds the most expressive cinematic feelings through a lack of communication or in loneliness. Through his visual expression (as well as a gift with sound expression), Antonioni’s films reveal complex depths and psychological levels. As a purely artist filmmaker, Antonioni is without question one of the greatest of all-time!

July 30th Log

2007-07-30T23:04:00.000-04:00

RIKYU
1989, Hiroshi Teshigahara, Japan
1st Viewing, DVD

Rikyu marked Japanese filmmaker Hiroshi Teshigahara’s return to fiction filmmaking after a 17 year hiatus. The film is based on the life of the legendary tea master Sen-no Rikyu, the film becomes one that is more a meditative experience, one that takes you into its world through visuals and pacing. Teshigahara openly embraced his preference for cinematography as the visuals of this film are once again striking and the camera framing and angels equally unusual and fascinating. Above all the film is one that speaks of culture, and art through a peaceful and simple yet philosophical depth. Though the film lacks the hypnotic movement of Teshigahara’s greatest films, I found the film to be an absorbing one made by a truly great filmmaker.

THE LONG NIGHT
1947, Anatole Litvak, United States
1st Viewing, DVD

The Long Night is a film noir structured through several layers of flashbacks. It opens with the death of a man and holdup of the killer in the house. The man is Joe Adams (played by the great Henry Fonda) and we are quickly taken into his thoughts. Through flashbacks (and sometimes more flashbacks within them), we slowly discover the events leading to the murder, as well as those that are involved with Joe (including the sweet young girl he loves, the showgirl who loves him, and the man who is also connected to these woman). The cast is very strong, with Fonda leading the way. Vincent Price gives his usually strong presence and Barbara Bel Geddes is memorable in her very first screen appearance. The film is directed by Anatole Litvak, who was known for excessive takes and a perfectionist approach. The Long Night is beautifully expressive in the way it uses shadows and lighting to heighten emotion and expression. The film is a remake of Marcel Carne’s acclaimed 1939 film Le Jour se leve, and it captures much of the visual look and feeling of the French poetic realism from the 1930s.

INGMAR BERGMAN (1918-2007)

2007-07-30T06:59:00.000-04:00

INGMAR BERGMAN

07.14.1918 - 07.30.2007

Swedish filmmaker Ingmar Bergman, perhaps the worlds greatest living filmmaker, died today at the age of 89 years old.

Bergman’s career is impossible to define or discuss in a couple sentences. He leaves behind one of the most remarkable bodies of work in the history of cinema, a filmography that includes over 30 films in a span of nearly 60 years. I had Bergman listed at #5 on my Top 122 filmmakers list last from last year. Here is what I wrote:

Master Swedish filmmaker Ingmar Bergman is sometimes unfairly considered as pretentious, boring, or arty, but to classify him as such is to seriously underrate him as an artist. Bergman is without question one of the most original filmmakers in the history of cinema. An artist with a truly personal vision that speaks to the very nature of film as an art form. Bergman’s films are all very autobiographical in the way of a truly great artist. You see a piece of him yet even more amazingly you can find something of yourself not in the sense that you are looking at yourself, but more a cinematic reflection about yourself. It can be a truly captivating experience and Bergman’s passion for cinema as an art form keeps the timeless beauty of films (it also explains the reason he stands among the most respected filmmakers among fellow directors). The pure imagination and beauty of Bergman’s originality and captivating visual style can very often be forgotten by the complex emotional depth they carry. Though Bergman’s personal presence is felt with every film, the versatility should not be overlooked as well. While Bergman is well known for his bleak portraits of death and faith he has shown his ability to master dark comedy (Smiles of a Summer Night), human psychology (Persona), martial relationship (Scenes of a Marriage), and magical celebration of the importance of a human life (Fanny and Alexander). Of course those are just a couple examples. Bergman has made over 50 feature films in a career that spanned from 1945 to his final film, 2003’s Saraband. Bergman may not be the greatest or most important and influential filmmaker, but very few are more personal and original and Bergman may have made more “great” films then any other filmmaker in the history of cinema (at least of what I have personally seen). Bergman was well known for using the same small crew (of course most notable is his masterful collaboration with the great cinematographer Sven Nykvist, who embodied the visual style of Bergman’s films) as well as the same actors (Liv Ullmann, Harriet Andersson, Max von Sydow, Bibi Andersson, Erland Josephson, Ingrid Thulin). It is this team of collaborators that have been critical to the longevity and greatness of his career. Bergman began in the theater and many of his films represent his theatrical roots. Particularly his earliest films as he began to discover the boundaries of film language. His earliest work beginning with 1945’s Crisis is not as emotionally and visually complex or rich and display his early roots of theater, melodrama, and comedy. Bergman’s early mastery developed in the beginning of the 1950s, with Summer with Monika in 1952 and Sawdust and Tinsel in 1953. Perhaps the earliest film to put Bergman on the international level was his 1955 comic masterpiece Smiles of a Summer Night. The film won a special award at Cannes for it’s ‘Poetic Humor’. However it was his next two releases (both from 1957) that cemented Bergman’s reputation among the world’s greatest filmmakers: The Seventh Seal and Wild Strawberries. Both films still stand among his most memorable and certainly draw back to the central ideas and imagery Bergman would use as a master filmmaker throughout the remainder of his career. With The Seventh Seal, Bergman examined the very meaning of life and the existence (or absence of God). The visual style of the film is quintessentially symbolic with a contrasted use of lighting and shadows, and the emotional mood is bleak, but Bergman also blends a bit of dark comedy that traces back to his earlier films. Wild Strawberries continues with a similar theme as the film opens with a dream sequence in which a man sees the nearing of death and is ultimately haunted by the questions of the significance of his life. It is here that Bergman established the central themes he would expand upon with his later masterpieces. The early 1960s began with Bergman’s loose “Faith Trilogy” (Through a Glass Darkly, Winter Light, and The Silence), three films that seek significant spiritual ideals in a world where humanity has no defining purpose and there are many resistances to connection. This is where his relationship grew with his cinematographer (Sven Nykvist) and Bergman’s visual style made him one of the most unique masters of world cinema. It is also where Bergman and Nykvist established one of the trademark visuals: capturing the human face. No filmmaker in the history of cinema has captured the very essence and expression of the human face as masterfully as Bergman. In 1966, Bergman made a psychological masterwork that stands as one of filmmaking greatest artistic achievements. It is a film that captures the self-conscious mystery of film and of the human mind. Persona is Bergman’s most complex film and depicts the very essence of his visual genius. It’s a film of multiple depths and layers but is ultimately a film, and one in which the very progression of watching and making films is examined as equally as the characters. Bergman’s films after Persona (all starring Liv Ullmann and Max von Sydow- Hour of the Wolf, Shame, The Passion of Anna) were depressing and frightening films of nightmares, apocalyptic war, and mental chaos. In the 1970s Bergman made some of his most emotionally powerful and painful films (Scenes From a Marriage, Autumn Sonata, and perhaps his greatest film Cries and Whispers). Cries and Whispers marks Bergman at the peak of his visual and emotional mastery and expresses the essential themes of his filmmaking (notably the meaning of a life in the face of death). In 1982 Bergman made his richest and most personal film Fanny and Alexander (as both a three hour theatrical version and a 5-hour television version). It was to be his last film (though he made several more for television and did make a return with 2003’s Saraband before officially retiring). Bergman’s films have a very theatrical approach on an emotional level, yet the truest mastery of his films come from the dazzling force of his images, as well as the haunting moments of silence. Often the combination of images and silence define Bergman’s narrative in a way that is truly unique from any other artist in filmmaking. Bergman is one of the greatest visionaries of filmmaking. An artist that took the very nature of the medium to new heights and expressions. He explored challenging subjects of filmmaking, of himself, of life, of death, of God, and maybe more then anything else of ourselves.

>> Bergman may have cinemas most impressive filmography so nearly all his films are recommended, but here are my personal 10 favorites:

CRIES AND WHISPERS (1972)

PERSONA (1966)

FANNY AND ALEXANDER (1982)

WILD STRAWBERRIES (1957)

THROUGH A GLASS DARKLY (1961)

SMILES OF A SUMMER NIGHT (1956)

SHAME (1968)

SILENCE (1963)

SCENES FROM A MARRIAGE (1973)

THE SEVENTH SEAL (1957)

July 29th Log

2007-07-29T23:29:00.000-04:00

KES
1969, Ken Loach, United Kingdom
1st Viewing, DVD

Ken Loach’s brilliant 1969 film Kes takes the viewer into the realism of it’s world, reflecting social and psychological meaning of life. The film centers around Billy Casper, a fifteen year old boy who is approaching adulthood and the conformity of a bleak working-class environment that consumes him. In Kes, young kestrel that he adopts and trains, Casper finds an individuality that gives him freedom and hope amongst the conformity and the authoritive figures of school and home (notably his older brother). Using mostly non-professional actors, and real locations, Loach fully absorbs us into the film with a documentary-like filmmaking style. Through this style we are view Casper emergence toward a depressing world of working-class conformity, contrasted by the openness and freedom of the natural landscapes shared in the moments he spends training Kes. Simplistic yet undeniably moving, Kes is a film of transcendent and philosophical emotional depths, made without an ounce of sentiment. This is Loach’s first theatrical film and it remains his most deservedly acclaimed film. Kes is an essential work. One of the truly great humanist films of British cinema.

THE NUMBER 23
2007, Joel Schumacher, United States
1st Viewing, DVD

Jim Carrey revises his animal protection role of Ace Ventura. Ok not really, but he does play a dog catcher in his second film with director Joel Schumacher (who directed Carrey in 1995’s Batman Forever). The film opens with a contrived sequence in which a dog supposedly creates the fate of Carrey’s connection to a Book called Number 23. Carry becomes obsessed with the book, believing it to be him, and the film blends reality with fiction all as Carrey’s character does voice-over throughout. Virginia Madsen again gets type-cast as the supportive wife dealing with Carrey’s obsession and paranoia of the number 23 and it’s connections to evil. The film has some fine points, but Carrey’s performance does not fit, and neither does the way the film handles the multiple narrative layers. It eventually becomes to much to handle and it seems as if there is no possible way the film can have a conclusive ending yet it poorly does tack one on.

July 28th Log

2007-07-28T23:25:00.000-04:00

THE SIMPSONS
2007, David Silverman, United States
1st Viewing, Theater

The long-awaited Simpsons movie finally arrives!!! The film opens with Homer telling the audience we are suckers for paying something we can watch for free on television. This sets the tone for the entire film, which is essentially an hour and half long version of a great Simpsons episode. If you are a fan of The Simpsons, you will love this. As far as I’m concerned The Simpsons is the best and most important television show in the history of television. I found the film to be non-stop laughs. The focus is primarily on The Simpson family, leaving some of the many great supporting characters as minor parts, but nearly everyone from the show makes an appearance at some point. The film effectively defines each character of the Simpsons, a timeless and universal family living in a timeless and universal American town (Springfield): Marge as the busy and nervous but patient mother/wife; Bart the juvenile troublemaker son; Lisa the politically conscious yet hopefully romantic daughter; Maggie the quiet, skilled, and easily influenced baby that unnoticingly gets the family out of jams; and of course Homer, the often lazy, thoughtless father/husband who is always causing problems for the family and the town yet is lovable for his equal flashes of reliability and values. The Simpsons Movie draws out each of these Simpson traits so perfectly while displaying the films trademark witty and hilarious comedy with touching family values. Always politically aware, The Simpsons Movie captures the shows importance as a social icon. Here the movie uses a narrative plot to center itself around two essentials of The Simpsons: politics and religion. While the show (as well as this movie) has always had fun taking its clever little shots at religion and the church, ultimately The Simpsons supports the importance of faith and spirituality within the family. This is where the quintessential morality of the show lies, and the movie absolutely captures this in a non-stop laughs film that celebrates the beauty and timelessness of American televisions greatest show.

July 27th Log

2007-07-27T23:37:00.000-04:00

INTO GREAT SILENCE
2007, Philip Groning, France / Switzerland / Germany
1st Viewing, DVD

Into Great Silence is a spiritual experience captured through the contemplative imagery and still silence of ritual. The film was meditatively shot by German filmmaker Philip Groning, who spent six months filming Carthusian monks in a French monastery. The film runs 169 minutes, is essentially without dialogue or a straight narrative, yet it’s beauty lies in the awe-inspiring silence and spiritual journey the film takes you. The film transcends specific religion, instead capturing human devotion and drive at it’s most simple and pure. Through stunning photography, use of lighting and sounds Groning creates a slowly inspirational film of peace and transcendence. Into Great Silence is challenging yet undeniably absorbing to experience.

A MOTHER SHOULD BE LOVED
1934, Yasujiro Ozu, Japan
Repeat Viewing, DVD

A Mother Should Be Loved is more melodramatic material then Ozu’s best work. The story centers around two brothers that are alienated after the older one secretly discovers their widowed mother is really his stepmother. The film is missing the first and last reels (a lot of which are titles), which detailed the joyful routines of family life with the mother, two sons, and the father, who dies of a heart attack. What survives centers around the central story of the two sons. Made during the death of Ozu’s father, A Mother Should Be Loved takes a look into the separation of the family, a theme he would continue to develop throughout his postwar masterpieces. This film is more plot driven and overall not as powerful as his greatest work, but it is an interesting film to see the early developments of his themes and style.

>>> More on A Mother Should Be Loved @ A2P Cinema's Yasujiro Ozu website HERE

>>> The opening moments from the surviving print of A Mother Should Be Loved:

July 25th Log

2007-07-25T23:14:00.001-04:00

ZODIAC
2007, David Fincher, United States
1st Viewing, DVD

After a five year hiatus from filmmaking, with Zodiac David Fincher returns to the serial killer mystery thriller genre that resulted in his best film (to me anyway) Seven, which was made in 1995. Here however, Fincher is working with a true story (based off the books by Robert Graysmith, which detail the facts about the still unsolved case of the Zodiac killings in San Francisco during the 1960s and 1970s). As such, Fincher treats the subject with far with an approach that is less philosophical and thrilling then Seven, instead focusing more on the investigation. In other words, Zodiac is less stylized then Seven instead aiming for realism, while still remaining an effective genre suspense film. Those familiar with the facts, details, and history of the case are likely not to be surprised by everything that unfolds. What pushes the film beyond the level of a simple crime detective film is that Zodiac is ultimately more centered around the key characters obsession with case and how the obsession consumes their lives. It is here that the film grasps it’s emotional humanity and Fincher along with screenwriter James Vanderbilt never lose focus of this element, even at a lengthy 158 minute running time. As the final title cards indicate, the case remains unsolved and Robert Graysmith’s obsession with the case remains. It is this obsession that makes the film most haunting. I think this is Fincher’s best film since Seven.

July 24th Log

2007-07-24T22:51:00.000-04:00

LIVE FREE OR DIE
2007, Gregg Kavet / Andy Robin, United States
1st Viewing, DVD

When not taken too seriously Live Free or Die is an enjoyable crime comedy. Set in a small town in New Hampshire the film is aimed as a quirky low-brow comedy. The quirkiness works because of the dialogue and the performances. It is the type of film that could get tiring quickly, but the performances are strong and the dialogue witty enough to keep the film enjoyable throughout the 92 minutes. Written and directed by debut feature filmmakers Gregg Kavet and Andy Robin (former writers/editors of the hit show Seinfeld), the film tells the “legend” of local town criminal John "Rugged" Rudgate. Essentially Rugged is only a want-to-be criminal and if he’s guilty of any crime it is his perceived image and phony reputation. As played by Aaron Stanford, Rugged’s boastful criminal shtick comes across funny and Paul Schneider gives a hilarious performance as his clueless friend. The supporting cast also share in the laughs and I can never tiring of seeing Zooey Deschanel, who (though underused again) is radiant as always. It is especially great to see the All the Real Girls duo of Schneider and Deschanel together again (here playing arguing brother and sister- once again with great screen chemistry). The film lacks challenging depth or insight, but I don’t think it aims for much more then it delivers. Sit back and let the performances and dialogue win you over, and Live or Die Free can be a really fun and funny film.

ANTONIO GAUDI
1984, Hiroshi Teshigahara, Japan
Repeat Viewing, DVD

What Japanese filmmaker Hiroshi Teshigahara is doing with this film is taking you into the artistry more so then the artist (influential Spanish architect Antonio Gaudi). Using fluid camera work and hypnotic sound and music, Teshigahara creates a lyrical and at times haunting mood that allows the viewer to be completely absorbed within Gaudi’s work. Teshigahara and his cinematographers and editors are controlling and detailing what is shown yet they craft the film together in a way that does not intrude and allows the film to be a rare experience. Heightening this is the films preference of mostly avoiding voice-over, instead using occasional subtitles. This film is a wondrous one of discovery because Teshigahara allows us to discover Gaudi work by taken the viewer into the world of it as can only be seen through cinema. The film ends with a final reflective thought from Antonio Gaudi, "Everything comes out of the Great Book of Nature; anything created by human beings is already in there."

July 23rd Log

2007-07-23T23:32:00.000-04:00

TAKE CARE OF MY CAT
2001, Jeong Jae-eun, South Korea
1st Viewing, DVD

What a beautiful and perfect film this is! Take Care of My Cat opens with a group of five young friends celebrating their graduation. Within a moment we are taken out of this joyful celebration of youth and into the world of early adulthood. A world that grows far more complex and ultimately begins to divide friendship. Take Care of My Cat is an emotionally captivating film that takes on many layers despite being made with a master touch of simplicity. What could have been forceful or melodrama, becomes something beautiful and natural through the minimalist approach by Jeong Jae-eun in his debut feature film. The emotions, expressions, and layers of the film are not explained, but rather they speak for themselves in a way that recalls the mastery of Yasujiro Ozu. The film is simplistic in that it does not rely on plot, yet there is a complexly structure depth to the film that allows the viewer to reflect upon and appreciate afterwards. We understand these characters experiences and we share in their humanity. The performances by the five women are each excellent, but it is Bae Doo-Na that is especially great. As Tae-hee, Bae finds herself alone and alienated from love and from family, always drifting into private thought. It is her friends that give her the connection and support she needs and Tae-hee struggles to reunite two of the friends that are drifting from each other (Hae-joo, an ambitious career-woman who’s moved to Seoul and Ji-young, a depressed orphan living in a broken down shack with her grandparents). Within the lives of these five woman is the cat Tee Tee who was found in an alley by Ji-young. Tee Tee moves through the hands of each character, becoming a reflection of their lives. Another minimalist expression of the film is the recurring use of cell phones and text messages, which serve to attempt to connect the friendship as it slowly drifts further apart. The cinematography of Take Care of My Cat is extraordinary, specifically in the way (without being forcefully “pretty”) it captures beauty and sadness in the most authentic manner. Take Care of My Cat is just a lovely film. I can not praise it enough except to say it is perfect and one of my favorite films!

SCARFACE
1932, Howard Hawks, United States
Repeat Viewing, DVD

Made at the innovative peak of the gangster genre and prior to the enforcement of the Studio Production Code, Scarface stands as one of the most impressive and certainly most influential genre films ever made. Directed by the brilliant Howard Hawks, Scarface is a landmark masterpiece. Scarface is a film that is completely indecisive in it's view of violence, as it brutally displays violence yet also absorbs and entertains with humor. Hawks rates among the most versatile filmmakers in Hollywood. Whether Hawks is working with Screwball Comedies, Westerns, or even Gangster films, they were never overly stylized yet each contained a depth and expression that made Hawks one of the true masters of filmmaking. Scarface is a film of dark brutality that manages to be both funny and disturbing. The film also uses several inventive cinematic techniques, including the use of sound and visual imagery (sometimes off-screen) as metaphors. Paul Muni is fantastic as Tony Camonte, in presenting the a frightening and viciouscharacter in a way that is equally humorous. Scarface is an absolute masterpiece film and remains a deeply influential and unforgettable achievement in film history.

July 22nd Log

2007-07-22T23:59:00.000-04:00

HARRY POTTER AND THE ORDER OF THE PHOENIX
2007, David Yates, United Kingdom / United States
1st Viewing, Theater

To me, the Harry Potter series may have reached at cinematic peak with the third film (Prisoner of Azkaban). However, the series continued to be interesting in the fourth installment Goblet of Fire, as many critical changes emerged (including their growth into adolescence). As the series goes each film grows darker, and such is the case with the fifth film Harry Potter and the Order of the Phoenix directed by David Yates. This does not have the imagination of the third film (Prisoner of Azkaban), but like the fourth film, Order of the Phoenix observes us growing up with Harry, Hermione, and Ron. We are not taken into their world as quickly with this film but it eventually picks up through the outstanding production design. Much of the special effects and magic wizardry is put aside here as the Hogwarts School is taken over by a new instructor (played by Imelda Staunton). As such we are taken into a darker side of Harry’s mind, as Lord Voldemort’s haunting presence reigns. The cast of veterans (including Maggie Smith, Emma Thompson, and Brendan Gleeson) are given much less to work with here, but everyone does a fine job. Ultimately Harry Potter and the Order of the Phoenix does not quite stand out as memorable as the previous two films of the series, yet it continues to intrigue as Harry’s growth and loss of childhood emerges.