Change Your Image
Upload An Image
Crop And Save
Loving Vincent (2017)
Loving Vincent presents a way to escape from any critique by putting its visual effect forward and creating a mesmerizing compilation with paintings in style. It is filled with feeling, emotion; however, the way it impresses us is not like something called "affective fallacy", it may not remind us anything with its plot, it may not affect us with its story, its pure influence is about the art itself reminding the short story of O. Henry, "The Last Leaf". Art creates impressions making us appreciate, cry, and smile.
Even if I do not want to analyze the movie, some details can be referred to remind us about the movie. With paintings on the cinema screen, without realities of our senses, this movie absolutely feels alive. Characters' movements, reflections, expressions on faces, leaves moving with the effect of wind, every camera movements possible -tracking shot, zooming, panning etc.- are reflected with great paintings in the style of Van Gogh. Their composition is something that the audience can easily get used to, even with a feeling suggesting us it is something more than reality, it is something alive, for instance, the scenes reflecting the stillness of the night or the light and shadow usage. Anyone can appreciate the efforts behind every scene.
One of the most important problems about the movie is the expectation created by the movie from the beginning as it is so fascinating and impressive that the rest cannot follow it up with an average plot. A different directing style may have had the power to measure up to the effect of the movie's visuality, but undoubtedly it is worth seeing at the cinema.
Reality with Contrasts
The movie tries to achieve a plain and simple target with its depiction of society from the beginning to the end. It was obvious for informed audiences about Guney that the scenes from the beginning, depicting bourgeois society and its life style would later be compared to another class, another part of society to show contrasts and what is lost between them.
At first, I found that irritating how the dialogues are cut and the lack of any reason for loud laughter. It was like the writer is out of context to create any dialogue. But then I got used to that as the movie emphasizes that it is first a demonstration with its strong manifestation, seeing the difference can tell much about the situation, hearing a laughter can irritate enough without a certain irritation coming from a talk. So, the movie itself persuades us with its exhibition inviting everybody to see, I may even say that it loses its effect when I hear someone talking for its mannered and theatrical tone. Maybe that was the reason for Azem to refrain from a discussion among others discussing politics. Being the "director" as well, he chooses to show and thus he attends the discussion with, of course, an authoritarian sight.
By the way, I was waiting for something to happen about the gun throughout the movie, and something happened. With an ambiguous smile and gunshot, an expected suicide probably, the movie completed my Chekhovian tendencies.
Bucking Broncho (1894)
Waving to the Future
Lee Martin is fine, being a cowboy and all, but what strikes me first when I watch this movie is that the man waving his hand into the future instead of clapping like others around him. It really gives me the pleasure of having someone from 1890s, struggling to show himself with a bit of excitement and exertion. He seems to be trying to know us as well as he makes his own self prominent.
He waves to many generations before us, with us, and ahead of us. This is like the concrete source of demonstration about how cinema functions throughout ages. Many times we get to know someone from another time period with the help of cinema and its unforgettable characters. Even if there is no characterization here, that man is, for me, one of these characters. I get his greeting yet I cannot wave my hand to the past, and sadly, this is, on the other hand, like the concrete source of demonstration about how time functions throughout our lives.
La maison ensorcelée (1907)
Progressive, as one of my lecturers majored in cinema still use the method that this short movie tries to use hundred years ago, cutting the scenes and reviving the image with the creation of moving pictures. "La maison ensorcelée" is probably more successful in that regardless of its lack about being scary..
Even so, I even felt something like fear in the beginning, with that picture turning into a scary woman. Also, the part they move camera to show the effect of the house being swayed is impressive.
Can compete with Mel Gibson's Hacksaw Ridge, so with U.S.A, Here we have heroes as well.. You are welcome to it
I even do not know why I rated this movie with 2 stars instead of 1. Maybe because of the effort put in with an apparent faith for the picture itself as the cast shows and as this is a war genre movie.
Yet, what did we learn, what did we sense after all? Let me help you with that. Now, we only see heroic British people who are called as "home" by Kenneth Branagh which is supposed to be an emotional statement I guess. But it is not. It only reminds me Mel Gibson's Hacksaw Ridge which is another patriotic approach over cinema. There is no "Thin Red Line" or "Paths of Glory" before us, not at all. It is only another warning for the rising of nationalism around the world. Make a choice now, which was more effective about a nation's heroic display, U.K or U.S.A?
By the way, who felt sorry for George anyway? I know we are supposed to, but, you know, Nolan was kind of saying "you know these things happen, feel sorry, pity, empathize with, go on, what else do you expect? I demonstrated, you should interrelate yourself with it." But poor Chris, does he think it is only about demonstration, I wonder. No way to get in touch with any of these characters here. They all looked like stereotypes to me without any depth.
Hacksaw Ridge (2016)
Did you just slap that grenade?
What the hell did I watch? Was it some kind of an anti-war movie or, in a so called way, a real story, conventionally narrated sentimental war- hero movie?
Someone must speak about that; it does not matter if you use a gun, or kill someone or not, if you have that kind of a mind, set to war, heroism, and nearly fascism with an unsurprisingly weird attitude towards Japanese.
You know what? This movie is just a way to arouse perilous feelings which are tamed by education and reason. It is filled with Christianity, bible, common scenes, and unbelievable, unreliable screen writing intermingled with Mel Gibson's directing.
By the way, it was not just a slap, he also kicked the grenade, didn't he?
Bes Sehir (2009)
Every Departure Squares With Death, Yet, Some Intended, Some Unintended
Onur Ünlü's type of drama manifests itself with touching parts of lives that are anywise connected. Cancer is the main character of this movie as usual, and the director's concerns about life are obvious with some objects that are both concrete and abstract like trains, poetry, tea, betrayal or disappointments.
Dilek is a character who represents modern way of love, yet, with more desperate and troubled sense. Her attitudes towards Şevket, who is more like an old-timer, superstitious, and recluse type, are so insensitive and soulless, even offending. The poetic sense that Şevket has with pure emotions at least vouchsafes him a suicide that he seeks for. But not everybody has an opportunity to sentence his or her own death. Dilek is, consequently, killed without having used her chance to die. That can be interpreted as poetic justice with an apparent metaphor.
Aydin is a hopeless police officer appointed to Istanbul, which is obviously much bigger city than he lived before. He struggles to adapt himself to this city life which is so difficult with his working hours that is 24 hours work and the next 24 hours rest. Solitude makes him worry about his existence, he cannot stand his own self, comforts himself with some external incidents. Yet, of course, they are never enough. He ends up without a chance to decide his own death just as Dilek.
Osman, apparently, symbolizes more obtrusive story. He is a child with all events around him, has nothing to fear, or feel happy for. Nevertheless, he, himself, uses his chance to kill someone else. By doing this terrible action, he justifies his state as he does it for an innocent desire. But again, he dies, maybe even fairly, as he dreams his innocent love.
Osman's teacher, Tevfik, maybe the one who spoils the poetic justice, is a character who, verily, perfects his own story. As he is betrayed after his reluctant, and perhaps well-intentioned murder he uses his chance to commit suicide. His saying, "don't say so" is notable and screens his innocence before life. Hence, he possesses his judgment on his death eventually.
This movie can be called as a wordless poem, without using fancy objects and dashy, and as likely as not pretentious images, it offers genuineness, and trueness.
A Vicissitude Inside, A Sameness Outside "The Road"
The opening scene of a movie is the most important scene, covering all elements of cinema. "Yol" opens with an expressive, intense sound harmony that is synthesizer, and its high volume, and the guardian's voice of notifying the prisoners about the letters sent to them. One can clearly feel the hope of all the prisoners with this shivery musical tone. Their losses, expectations, melancholy, and radically quailed struggles are revealed early; however, this earliness is what the movie needs, thereof, the dramatic theme finalizes itself right on time, rather, apropos.
Tolstoy's famous novel, "Resurrection", is one of best examples underlining the situation of political prisoners, and the laws. Yilmaz Güney's depiction of the prisoners situation with some scenes like the train voyage, recaptures the parts of Tolstoy's great book and its criticism. Rural area and the people of living dogmas, crime and marriage, are effectively connected. With a taste of authenticity, you feel the critical remarks behind. Having already won Palme d'Or in 1982, this movie deserves the prize of folk, and deserves to be announced as one of the best movie of Turkish Cinema.
Samurai Jack (2001)
A Simple Drawing Meets With Cinematography, Presented by Tartakovsky
When you watch a movie like Shichinin no Samurai, Spartacus, or one of the contemporary ones, The Lord of the Rings, you get the feeling that is so genuine, so imposing that you sense the change of your heart rate, in the scene of Aragorn's Speech at the Black Gate for instance. Samurai Jack, simply gives you the same emotion, and thrill for every single episode of it.
Even in the episodes that the cartoon does not sustain any concerns about giving messages, the show excites you and makes you feel wonder about it. Scenes presenting a minimalist description with all details and the objects used intentionally are so realistic, and more than being realistic, so appropriate, and just. Basic elements like evil and good, justice and injustice, past and future, conventionalism or tradition and modernism or mechanization are presented so inventive, since you expect nothing more than originality from a cartoon, this show is exact and complete. Samurai Jack is also entertaining, as a cartoon should be, containing absurd comedy elements that are situational.
If I had a chance to turn a cartoon into movie, that cartoon would definitely be Samurai Jack, yet, maybe the perfection of the show is due to its type and drawings. So, just enjoying the show as it is, is the best chance to have.
The Blind Side (2009)
At first, this movie cannot ensure a solid element of comedy, even if it tries to amuse you, somehow, with its dramatic theme inside, biographically, it cannot. Sandra Bullock's stance as Leigh Anne seems so false, pretended, and "studious" which makes an actress, simply, a character, not a part of authenticity that audience expects.
The story telling a real struggle is presented as a fine family portrait, and due to that weak description it loses its dramatic sense. Although the movie is based on a real story, the points it makes are so conventional that I thought I was watching a Boys Town type narration, roughly fictional and maybe more like a part of The Visual Bible: Acts with its excessive lines. If, again, we are to analyze the movie, as a movie, not a part of real life story, we most likely ponder on the moral values that the movie covers. Leigh Anne helps a boy, and it is a favor appearing sincere and disinterested. Yet, with a deep thinking on her change after doing this favor, one can clearly observe a sense of selfishness and egoism. As a result of this help, Leigh Anne, obviously, feel happy for herself and as for his husband's, Sean Tuohy, observation it seems like a satisfaction out of helping someone. This issue, which is perhaps something to debate philosophically, annoyed me throughout the film. Other than technical and reasonable causes for helping someone, this abstruse cause of relieving yourself with someone else's deprivation bothered me most. This is again a religious drop that can be interpreted as doing something good for the prize that relieves a vassal, heaven.
Yet, with the help of Quinton Aaron's performance, movie completes its biographical theme and story. Mediocrity makes this movie's possibly extraordinary story, so banal, and naturally ordinary.
Auf der anderen Seite (2007)
Illumination of variety
Improbable relations between countries, streets, airs and all, of which we can think vaguely presenting us a constant stance.When I first saw "The Edge of Heaven", this picture had spontaneously penetrated into my sense with its all superficiality, somehow.
Regional sites that we experience ostensibly as we exist inside this vita which is, verily, so actual possessing today's articles.Political and sexual involution offers a great coast of a life of togetherness that is ongoing.
Just happen in this picture and contact to grief, reprieve, jolt, expectations and complexity.