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A deeply moving film that connects in a refreshingly real way
This film couldn't have come at a better time, as America is surely in tumultuous times right now. It seems appalling that interracial marriage was still illegal in some states fifty some years ago, but have we really come THAT far since? The latest film from Jeff Nichols is beautifully-told, graceful and affecting as the filmmaker focused on the couple themselves instead of making a political statement. Yes of course the film has a major political and social implication, as the Supreme Court decision on Loving v. Virginia put an end to all miscegenation laws in 1967. But at the end of the day, the story is about two human beings who loved each other and wanted to raise a family together.
Both Ruth Negga and Joel Edgerton portrayed Mildred and Richard with such quiet grace and sincerity. It's an understated performance that speaks volumes and conveys the tension as well as poignancy of what they went through. For someone withe the name Loving, Richard surely lives up to that and it's truly a beautiful marriage built on not just love, but mutual respect. Michael Shannon has a smallbutmemorable cameo as a LIFE magazine photographer who took the iconic shots of the couple as they simply hang out in their home, watching TV, playing with their kids, etc. There's also Marton Csokas as the 'villain' of the story, the Virginia sheriff who arrested them.
The script, direction and performance all work beautifully to bring the Lovings' story to life. The cinematography and music are beautiful and evocative, it works in transporting us to a certain period of Americana. But it's the journey of the Lovings that I shall never forget. By making the film about the couple, forgoing court drama theatrics, Nichols made a deeply moving film that connected with me in a refreshingly real way.
Blood Stripe (2016)
A captivating, character-driven drama that absolutely deserves to be seen
I had the privilege of seeing this film at 2016 Twin Cities Film Fest. Right from its opening scene when the film's protagonist first touched down on the airport, I was immediately intrigued by her. Known only as Our Sergeant, she just returned home to Minnesota from her military duty. The film didn't specify which country she was placed in, though later she did talk about her time in Iraq and Afghanistan. The film isn't political, nor does it point finger about the cause of post-traumatic stress disorder (PTSD) many soldiers suffer. It's a story about a combat vet who happens to be a female Marine, and the trials and tribulations she goes through in the film.
Despite the dark subject matter, the film is far from somber. It's effortlessly engaging, thanks to Kate Nowlin's immense screen presence. She is tough, powerful yet vulnerable, and Nowlin embodied her character so beautifully. I have to admit I'm not really into war-themed films in general, but I've always been drawn to those that focus on the psychological aspect of the soldiers, i.e. 'The Thin Red Line'. But 'Blood Stripe' captures the brutality of war without actually showing it. It's a mental torture that the 'Sarge' endured, at times she's on the brink of losing it, and it's a truly haunting performance. Director Remy Auberjonois contrasted that mental torment with the striking serenity of Lake Vermilion in Northern Minnesota.
I was truly in awe by Nowlin's extraordinary performance. She also co-wrote the script so she must have spent a lot of time with her character, but it's still quite a feat given that she had no military training prior to taking on this project. I also appreciate the fact that the film utilized all of the supporting cast well, as each had their moment to shine. Chris Sullivan was terrific as Sarge's husband, as was Rusty Schwimmer who played the camp's caretaker where Sarge worked. Tom Lipinski also did a memorable turn as The Fisherman who befriended Sarge. Last but not least, we've got the venerable character actor René Auberjonois as the church elder Art who's the comic relief in the film.
It's so rare to see female soldiers being depicted on the big screen and I think Nowlin's portrayal does them justice. The enigmatic ending lingers long after the opening credits, this film certainly adds the conversation to the topic of PTSD in a compelling way.
The 33 (2015)
A compelling story of human resilience
I just saw this at Twin Cities Film Fest this weekend. The 33 chronicled the event that gripped the international community when 33 Chilean miners were buried under 100- year-old gold and copper mine and trapped for 69 days.
Director Patricia Riggen did a phenomenal job telling a compelling story of human resilience and the courage of both the miners and their families above ground who refused to give up. Great ensemble cast featuring Antonio Banderas, Juliette Binoche, Lou Diamond Philips, Rodrigo Santoro, and Gabriel Byrne. It was exquisitely shot by Checco Varese, which was shot on location in two different mines in Bolivia, Colombia. It certainly looked authentic as the environment of the set made the actors felt as if they were real miners for a while. The 33 miners were also consulted for the film.
There were moments that might have felt too 'Hollywoodized' but overall the film didn't feel emotionally manipulated. The genuinely stirring score came from the late James Horner, which the film paid tribute in the end. It's not a perfect film but I think the film was respectful to the subject matter and did the story and those miners justice.
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Sword of Vengeance (2015)
A visually-driven genre film that doesn't pretend to be deep or philosophical
I rented this when it arrived on Netflix and I enjoyed it more than I thought I would. It's stylishly-shot and the decidedly stark, bleak color scheme actually looks quite artistic in contrast to all the red of the spurting blood from those who get in our hero's way. The simple, no-frills plot suits the piece. I mean the title says it all. Obviously the protagonist is seeking vengeance and once it's revealed what's taken from him, you get why he does what he does. Yes, a bit more character development is always nice, but at a brisk 87 minutes, it was entertaining enough without overstaying its welcome.
The mysterious Shadow Walker quipped 'vengeance is my only belief.' You know what, he lived by that rule in the movie. He didn't seek out to be a hero or has aspiration to lead a nation or anything like that, he just wants vengeance. It's as minimalistic as it gets, so if you go in expecting a whole lot more, then you set yourself up for disappointment.
French actor Stanley Weber is freaking bad ass in the lead role, sporting a historically out-of-place corn rows but who cares, it looks so damn cool! Apart from that hairstyle, he looks suitably grim and gritty, and his rugged costumes look believably soiled and grubby. His character is the strong silent type who's as efficient with words as he is with his sword fighting. He's like an 11th century John Wick! I also like his fellow French actor Edward Akrout. There's a great mano a mano sword fight between the two that's fun to watch, but my favorite scene is the one in the woods where the Shadow Walker get to show his action hero prowess.
The movie has the look and smell of the dark ages, the set pieces look appropriately harsh and gritty, the fact that it was shot on location in Serbia in the middle of Winter. Even from the opening sequence when we first met Shadow Walker slaying off people in the rain, I love Jim Weedon's style and his use of music. Weedon started out as an award-winning commercials director who also worked on some SFX work for films like 'Gladiator' (the Elysian Field sequences).
So yeah, I have no qualms about liking this flick. It's not for everyone but if you're into this genre, I'd say give it a shot.
A great entry to the sci-fi genre proof that it doesn't take an astronomical budget to tell a GOOD story
I was intrigued to see Predestination as I was impressed by the Spierig Brothers' previous film 'Daybreakers.' It offers a novelty twist to the popular vampire genre and this time, they tackled another popular Hollywood theme, time travel.
I'm not going to say much about the plot as the less you know about it the better the experience. All I'm going to say is that it's based on Robert A. Heinlein's short story All You Zombies. I thought at first there's some similarities to 'Minority Report' about the preventing-a-future-crime from-happening plot, but the story is completely different. In fact, it makes that Spielberg film seems more straight-forward if you can believe that. I like how the film started out with a bang but then the pace slows down considerably in the first act as we're introduced to the characters played by Ethan Hawke and Sarah Snook. The odd pacing seems deliberate and I actually think it's pretty effective and engrossing in getting us to care about their journey.
Hawke is solid here once again, as he was in 'Daybreakers.' I always think he's an underrated actor as though he's not the most charismatic actor but he's always reliable. There's something soulful about his performance and he's not afraid to show his vulnerable side. But it's Snook who's quite a revelation here. I've never seen the Aussie actress before but she is absolutely astounding. It also helps when she's given a strong character arc here, and she tackled her role as The Unmarried Mother, which is the name of her magazine column she writes for. It's quite a complex role with multiple layers but it's so rewarding to see how she tackles each one convincingly and with so much heart.
There's also Noah Taylor as the enigmatic Mr Robertson but for the most part, the story revolves around Hawke and Snook's characters. This film will leave you scratching your head, as most stories dealing with time travel paradox often do. But how the plot unravels is captivating, keeping you guessing whilst you try to grasp just what you're actually witnessing.
If you like sci-fi AND time travel movies, this one is a must-see. The cinematography and art direction is wonderful, featuring unique camera angles and excellent production design. It's impressive considering the relatively tiny budget (about $5 mil). It's another proof that one doesn't need an astronomical budget to tell a good story. I'm curious to see what the Spierig brothers will tackle next!
The Act of Killing (2012)
Harrowing, shocking, and at times unbearable to watch... but it's also surprisingly poetic and beautiful.
The Act of Killing is a documentary based on the Indonesian genocide in 1965. It challenges former Indonesian death squad leaders to reenact their real-life mass-killings in whichever cinematic genres they wish. The killings resulted in one of the most brutal genocide in history, with nearly a million people slaughtered within a year. It's obvious some of the scenes they re-enacted are inspired by Hollywood films, as the perpetrators of the killings themselves admitted that they're big fans of violent Brando and Pacino movies. No doubt this is one of the most bizarre and frightening films I've ever seen, but also one of the most inventive. Most documentaries I've seen usually have talking heads or footage of the subject matter, but in this case, we not only get the first-hand account of the event, but the perpetrators themselves willingly re-enact the brutal events on camera. The documentary is so well-crafted as it really transported me to another realm. Director Joshua Oppenheimer spent nearly a decade working on this film, which grew out of another project he was working on in Indonesia in 2001. The Texas-born filmmaker (who currently resides in Copenhagen) had been fluent in Indonesian whilst filming this, and it's apparent that he cares very deeply about the story. I'm amazed at how candid the former death squad leaders were in revealing the acts of killings they did four decades ago, down to the most gruesome details, both in words and in the form of the various re-enactments. It's interesting that in some of the scenes they're playing the 'victim' of the torture and execution. At one point Anwar said to Joshua that perhaps he could feel what his victims felt when they were subjected to such horrifying terror, but the director wisely but politely rebuked him. Obviously he could never felt what his victims felt, given that what Anwar took part in was only fiction, not the real deal. The word 'amusing' perhaps isn't what you'd expect in a documentary about mass killings... yet the re-enactments that were inspired by various Hollywood genres ranging from Cowboy movies, crime drama, and bizarre musical numbers where a member of Indonesian paramilitary Pemuda Pancasila was dressed in an ornate drag costume. Though some of the scenes are quite amusing, it's truly revolting that these guys are in such good spirits and joking around whilst filming such horrific acts. It's one thing when an actor has to act out a fictional violent film, but every scenes they depicted here are based on true acts of killing that they themselves performed to hundreds of thousand innocent victims. The film focuses mainly on two of the most notorious death squad leaders in North Sumatra, Anwar Congo and Adi Zulkadry. It's interesting to note the different reactions between the two in how they cope with their past sins. Anwar seems somewhat remorseful and honest about being haunted by his past, in the form of nightmares and psychological torment, whilst Adi is more defiant and in denial about how his past doesn't really affect him. There's an absurd conversation between the two when they're talking about seeing a shrink to help alleviate their psychological issues. One of the most intriguing character in the film is Herman, who's dressed in drag for a good part of the film. He wasn't actually involved in the massacre at the time as he was only about 10 years old then, but he played a prominent part in this film. His evolution throughout the film is striking as he starts out as someone who greatly admires his friend Anwar. As the film progresses, it's as if his eyes were opened to the reality of evil that he's somehow being shielded from all his life. Despite all the grisly depictions, the most affecting scenes to me are surprisingly those when no words are spoken. Whether it's a scene of Herman playing drums while wailing and screaming uncontrollably, or the deafeningly quiet moment when Anwar simply stops at the stairway as he's going down from the rooftop where a lot of the killings happened. Both scenes rendered me speechless. But really, there are too many breathtaking moments to mention in this film. It's truly a film one must experience, I don't think my review does it justice as it barely scratch the surface of the depth of what's being depicted on screen. Harrowing, shocking, and at times unbearable to watch... but it's also surprisingly poetic and beautiful. There are few films out there that I'd call essential viewing, but I think this documentary is one of them.This incident isn't just about Indonesia, but it speaks volumes about our humanity and what we humans are capable of. I hope you'd check it out when it's out in your area or available to rent. Be sure to seek out the 159-min director cut whenever possible. I'm sincerely hoping that 'The Act of Killing' would get a nod for Best Documentary at the Oscars, as well as other kudos come award season.
In a World... (2013)
A comedic gem from a first-time female director
As someone who watch at least half a dozen movie trailers a week, the premise definitely appeals to me. In fact, earlier today I saw a trailer of Inescapable that pretty much had this cheesy VO narration that tells you the plot of the story. The protagonist of this movie, Carol (Lake Bell), lives under the shadow of her voice-over star dad Sam Solomon (Fred Melamed). After being kicked out of her dad's house to accommodate for his new young wife which Carol refers to as his groupie she has to pack her bags and live with her sister.
As a vocal coach, Carol often has to coach certain celebrities when they have to adopt a certainly adopt a certain accent, but voicing a trailer is still pretty much an elite boys club. An opportunity suddenly presents itself when a big studio is looking for a voice over for a quadrilogy blockbuster sci-fi franchise and with the help of her friend Louis (Demetri Martin), she just might have a chance to break into the glass ceiling of that industry. The whole VO competition involving her dad and another VO star Gustav, an eccentric douche bag who takes a shine on Carol, provide most of the laughs. Ken Marino is a hoot as Gustav, a familiar face though I can't quite put my finger on what movies I've seen him in. There's also a comical side plot about Carol's sister marital infidelity involving a seductive hunk in the form of Irish hunk Jason O'Mara. Seriously who could resist him with his natural Irish brogue!
This is the first time I've seen Lake Bell, though I've heard of her before this movie. She not only star in this but also wrote and directed her debut film, and I must say I'm impressed! She's got excellent comic timing and a knack for accents, and the story is surprisingly engaging and downright hilarious. The tall and svelte Bell could make a living as a model but she really made herself to look very plain here as a perpetually-disheveled tomboy who's 'signature look' is a denim overall. But she's instantly likable and she surround herself with equally affable and amusing characters.
It was fun to see cameos from Geena Davis, Eva Longoria and Cameron Diaz as well, the scene of Longoria struggling to say just one simple line with a British accent had me in stitches! This movie premiered in Sundance a few months ago and I hope it'll get some decent distribution in the coming months.
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Olympus Has Fallen (2013)
The spirit of patriotism is so high in this movie, there's absolutely no room for subtlety
I was wondering the other day if it's possible to find a review of this movie that does not mention the words Die Hard. Seems that the comparison is inevitable and it seems that Olympus Has Fallen is begging for a comparison. In fact, perhaps it's an homage to that action franchise, as it's more akin to the spirit of the original Die hard movie than its official sequel.
If you've seen the trailer, then you'll know the plot. The White House is being attacked by a group of North Korean terrorists and hold the president hostage. As is with a lot of 90s action flicks, there is only one person who could save the day and that man is Mike Banning (Gerard Butler). The first ten minutes or so of exposition reveals a tragic event during his day as a Presidential guard. 18 months later, Banning is confined to a desk job and even as time passes he's still consumed with regret that he let his boss and friend, that is President Asher, down. So naturally, he's more than eager to redeem himself when the chance presented itself one sunny Summer day. The attack comes hard, fast and vicious. The first attack came from above, but instead of a space ship, practically the entire Washington DC is sprayed with bullets from an air carrier, and within minutes, the supposedly most secure building in the entire free world is reduced to rubble with dead bodies piling up on its grounds.
The words fresh and original aren't likely to be associated with this film, but it certainly stays completely true to its title. Olympus indeed has fallen, and Antoine Fuqua doesn't pull any punches with the brutality of how it goes down. It's rated R for a reason, it's violent and bloody. I lost count how many people getting shot in the head at close range and all the severe stabbings. Banning himself has no qualms in *taking care* of the enemies. He seems to subscribe to the same "No mercy! No surrender!" motto as his most famous role in 300, but with a bit more humor thrown in. Some of the one-liners did deliver some laughs, especially his defiant quips at the Pentagon folks, though Butler's character not quite as charismatic as Bruce Willis' John McClane as the script lacks some serious wit.
Unfortunately it's lacking in common sense as well. Granted, the believability factor depends on whether you'd believe a group of extreme terrorists could deliver such a blow to the United States. The thing is, I don't know how such a big aircraft could enter our airspace, passing through Andrew Air force Base, without being shot down? The security forces are so quickly rendered powerless it's as if they've never been trained to respond to emergency attack whatsoever. But the biggest plot blunder of all is how Banning is still able to get security clearance once he's inside the President's compound as he's technically no longer part of the Service. Yet could still use his thumb print to gain access, has the right code to open a safe, etc. as if he's never left! I mean, they didn't change authorization codes every time there's a shift in the security personnel? WOW, some *security* huh? Now, I can't possibly write this review and not mention the cheesy special effects. I get that this is a throwback to 90s action blockbuster, but do they have to throw in 90s SFX as well?? It gets distracting at times, especially during the ambush scene in broad daylight. Fortunately things get better and grittier as the day progresses, and the action gets more up-close with more hand-to-hand combat between Butler and whoever is unlucky enough to get in his way. Butler is utterly believable as a bad ass special forces, he's definitely credible in action flicks and as a one-man army. Yet he's not wooden or vacant like many action stars, he still brings a touch of humanity to the role as the mission is a personal one for his character. There's some emotional resonance in his scenes with Aaron Eckhart as the beleaguered POTUS, and also with his young son.
The supporting cast are stellar but not really given much to do. We've seen Eckhart and Morgan Freeman in far better roles, but their presence did add gravitas to the project. Melissa Leo got more screen time than I though but I'm disappointed that the still-athletic Angela Bassett didn't get to do any butt-kicking in this movie! I was sure she would get to do some of that when she was cast as the head of Secret Service. Rick Yune pretty much rehashed his role as Bond villain in Die Another Day as the villainous mastermind Kang who's hellbent to get his hands on US nuclear missiles. I guess he's serviceable but nothing more, a far cry from the iconic performance of say, Hans Gruber, as Kang is neither menacing nor entertaining. I'd say the characters of Dylan McDermott and Radha Mitchell could've been left in the cutting room floor and they won't make a dent.
The spirit of patriotism is so high in this movie, there's absolutely no room for subtlety. A torn down American flag being thrown by the bad guys from rooftops falls in slow-motion as a patriotic score comes on, there are plenty of moments like this and I can't help but feel a bit emotional despite its corny sentimentality.
Despite all the flaws though, I still think this one is not a bad movie. In fact, it's actually quite entertaining and action fans should be pleased to see the relentless combat scenes and countless shootouts. There's also a decent level of suspense overall, and I definitely feel a pang in my gut seeing our leaders being violated in such a way. The subject matter of terrorism is sadly still relevant to this day, and at times it really hit close to home.
Stoker definitely works as a cerebral, atmospheric psychological thriller
In case you didn't know this already, 'Stoker' is Chan-Wook Park's English language debut. It's not only a first for Park, this is also Prison Break's Wentworth Miller's debut screenplay. I'd say he's quite a talented writer. The film centers on India Stoker (Mia Wasikowska), who's mourning the sudden death of her father. As if that is not a major life-changing event for the reclusive teen, her uncle Charlie (Matthew Goode) who she never knew existed now comes to live with her and her unstable mother Evelyn (Nicole Kidman). Right of the bat we know there is something strangely peculiar about Charlie and India thinks so too, right from the moment she noticed him standing on a hill at her dad's funeral. The Stokers certainly gives a whole new meaning to dysfunctional family, one that'd make your blood turns cold.
Much to India's chagrin, Evelyn seems to be fascinated by her long-lost brother-in-law who claims he's been traveling all over the world. India is naturally suspicious of Charlie, and he gives every reason for her to be with his creepy mannerism and frequent glances towards her. Initially, she tries to ignore his unhealthy attention, but Charlie is quite relentless. Despite the warning of one family member, Evelyn doesn't mind her brother in-law staying with them and let's just say Charlie intends to keep it that way, and would stop at nothing to keep his secret safe. I'm going to stop giving you the synopsis as the less you know about the plot the better. Not that Park is too concerned about plot twists however, I feel that he's more interested in building a certain state of mind for the audience as they watch things unfold.
To say this movie is unsettling would be a giant understatement. The sinister atmosphere practically ricochet off the high ceilings of the secluded woodsy estate where the Stokers live. The tension intensifies every time Charlie appears and Park is able to establish suspense with minimal frills. Even the seemingly ordinary event such as two people playing the piano or having dinner is so eerie and you're at the edge of your seat waiting just what's going to happen. Even the humorous parts are not without tension, such as the part when the Ray-Ban-wearing Charlie stalks India on her way home from work in his black convertible whilst the girls on her school bus are giggling and fawning over him.
A few reviewers say this film is not as bloody as Park's other films and I'm certainly glad for that most of the violence happen off screen. That's not to say there are no brutal scenes, it's certainly not in short supply for my taste, but it's not so gory that it makes my stomach churn. What really strikes me about Park's direction is his creative camera angles and how he frames the scene. It's truly a gorgeous film and beautifully-shot by Park's longtime-collaborator Chung-hoon Chung, both clearly have such keen eye for detail that enhance the mysterious ambiance of the film. There are also some interesting metaphors used here, such as the choice of Charlie's car, a Jaguar, seems to signify that he's a predator on the lookout for his next prey.
Clint Mansel's foreboding score also works very well here, I quite enjoy the classically-tinged music used throughout. The music certainly enhances the mood, but it also plays a role in the story. There is one memorable scene where Charlie and India playing piano together that perfectly captures the disturbing nature of their relationship.
The three main actors did an excellent job, particularly Wasikowska who manages to be convincing as a 17-year-old despite being five years older than her character. The talented Australian has this otherworldly presence that is perfect for the role and she has proved to be a capable leading lady. Goode is so perfectly creepy as Charlie, his preppy good looks makes him all the more menacing. I read that Colin Firth had been cast in the role but dropped out, I actually think Goode's youthfulness is perhaps more suitable for the role than Firth, plus he resembles Dermot Mulroney who plays Mia's late father Richard, who appears only in flashbacks. Kidman's icy demeanor is put to good use in depicting a selfish and detached mother. I like the International flavor of the film. The director and cinematographer are Korean, the composer, screenwriter and lead actor are from the UK and the two main actresses are Australian.
Being that this is my first Chan-wook Park's film I saw, I'd say I'm quite impressed with his direction and style. I do think that the filmmaker perhaps place aesthetics above narrative that it felt like the film's on the brink of style-over-substance. It's also a cold film that appeals more for the brain but little for the heart as all the characters are impossible to root for. That said, Stoker definitely works as a cerebral, atmospheric psychological thriller. Thriller fans looking for a spooky and suspenseful roller-coaster ride should not be disappointed.
review by ruth @flixchatter.net
Holy Motors (2012)
More of a cinematic experiment than a conventional film... but worth a look
I have to admit I have not heard of this French film at all until a few months ago when I read some really rave reviews of this. It sounds so batty and bizarre, and though I don't really have a huge taste for surreal cinema but I was intrigued enough to check this out.
From dusk 'til dawn, we follow a man by the name of Monsieur Oscar (Denis Lavant) traveling by a white limousine around Paris to a series of nine "appointments." His chauffeur Celine makes sure he gets to each of those appointments in time, and at each stop, Mr. Oscar transform into new character, one more bizarre than others, but we're never told just why he does this. From a gypsy beggar, to a motion capture artist like Andy Serkis, he does his own make up and disguise in his well-equipped limo.
The two most bizarre ones to me is when he's dressed like a leprechaun-looking thing and kidnaps a fashion model (Eva Mendez, channeling Cindy Crawford here) during a photo shoot at a Parisian cemetery and takes her into a cave. It gets even more bizarre after that, trust me. And the other one is the motion capture stuff where he's doing all kinds of Ninja moves, and then a woman dressed in the mo-cap suit with all the dot markers and the two start to perform a sex act inside a digital production facility and being projected as some reptilian beings on the monitor screen.
The film's narrative is quite challenging to follow, not to mention the fact that we have no clue just who Mr. Oscar is and why he does what he does. I was willing to go along for the ride and oh, what a trip this is. Director Leos Carax mixes all kinds of genres, as iTunes described it, it's a monster movie, film noir, romantic drama, musical, crime thriller, futuristic sex fantasia rolled into one, yet it also defies each and everyone of that genre at the same time. It reminds me of 'Paris, je t'aime' a bit but with just one actor in its multiple storyline. It's tough for me to even explain just what's going on throughout the 2-hour running time, I think if you're curious about it, just go see it.
My favorite segment is of Mr. Oscar and Jean (Kylie Minogue) where she sang the movie's theme song 'Who Were We.' I'm still humming that lovely song, it has kind of a haunting quality about it. The music is actually quite memorable here, there's also an accordion interlude called 'Let my Baby Ride' that's quite awesome. My late mother played the accordion so that instrument holds a special place in my heart.
I'm not surprised this film won so many film festival awards, and was nominated at Cannes and César. I'd even think it's worthy to be nominated for Best Foreign Language Oscar. The cinematography is beautiful and unique, it shows various parts of Paris that's not always all romantic. Lavant's performance was noteworthy to be sure, that's got to be a challenging role for any actor.
'Holy Motors' is perhaps more of a cinematic experiment than a conventional film. I don't think this fantasy film is for everyone though, but I do think if you're willing to step out of your comfort zone, you might actually enjoy it. I know I did, and parts of me are weird-ed out by it, even terrified at times, but also mesmerized at the same time. Yet it's also strangely moving, it somehow appeals to my heart even when my brain fails to comprehend just what is happening. In a sea of movies that lack imagination and originality, I certainly appreciate it when something offbeat like this comes along.