adrean-819-339098 Reviews

Silver Linings Playbook (2012)

Two films in one

[6/10 · 18 March 2013]

I found there to be two films within this film. One worked better than the other.

The first half of the film worked better for me. There was a veritable tension as we decide if Bradley Cooper's character is still crazy or not. The film didn't rely on silly plot triggers in this half of the film.

The second half fell into too many pitfalls. I cannot see for the life of me see why there had to be so many secondary characters. Not a single one of them worked and the gags seemed tired. I've seen the Indian guy stereotype cutting loose at least five times in other films. What did the black character bring to the film? The brother subplot underdeveloped and I'm forgetting even more secondary characters..This film did not need to explore to it's depths these characters and whatever tension that was established in the beginning quickly fizzled away as we followed pointless subplots created from space ie; the dance competition and betting.

The film was also too long and a bit of cutting/editing and winding up some scenes quicker than they were would have added a greater vigor to the film. However, I enjoyed myself throughout the film and did not want it to end.

The absolute shining light is clearly Bradley Cooper, every other character cannot hold a candle to him. His female counterpart was particularly grating and painful to watch. Hats off to Bradley as he carried this film on his shoulders and it's a performance hauntingly difficult to forget.

Antiviral (2012)

Engaging Film

[6/10 · 25 February 2013]

I think what worked well in the film was the rhythm and the pacing of the film. We are moved from scene to scene in a timely manner and each scene reveals a piece of the plot which draws us into the story. I think this is very commendable for a first time director. The film never lets up for a minute and I would hardly call it slow as another reviewer has done.

I would also disagree with others here that Caleb Landry Jones carried the film very well. To begin with he is too young and baby-faced for the circles he moves in within the film. I found it hardly plausible that he would have the underground connections as he did. Even more grating for me was that I found him entirely one dimensional in his approach - scowling, hunched over, drooling, coughing, raspy voice, the cane. ad infinitum - and this during the whole film as he is in pretty much each scene. I think a more subtle approach to the role at times would have been appropriate and more interesting for the audience. It did feel at times repetitive.

Despite Caleb's exorbitant display I had trouble seeing the person underneath. I wondered if say a young James Woods were given the role what heights the film could have reached.

Final point - The slightly indie American austere sets/costumes made the film feel a little demonstrative for me. I think this was an easy way out so to speak for the director. Cold bare white apartment (sandwiches/orange juice), cold ultra modern office with guys in suits, and the hotel with flowers. This all felt a bit manipulative but on the other hand the outdoor shots of the city Hamiliton were interesting.

Heat of Desire (1981)

Avoid at all costs

[2/10 · 29 January 2013]

I chose this film because I wanted to branch out and find a new French director. The film had Patrick Deweare which was enough for me to choose the film.

Plein Sud suffers from numerous faults, not the least is the serious lack of coherency or real continuation between the scenes. The film hops from farce comedy to serious melodrama. What's missing is the real substance to allow this to happen. The director didn't have the talent to pull off one or the other in this film.

I can hardly believe the infatuation that Patrick Dewaere has for the female lead. Within five minutes of the film beginning he is infatuated. Why? Because she makes a make-believe home of the hotel furniture. What a free spirit! We learn nothing about her throughout the film. If we don't understand why he is infatuated than why should we give a damn for the film.

Last point the music is far too dramatic for the film. I heard notes from La Meprise by Luc Godard but the film does not have that films lofty heights. The music is too manipulative and inappropriate.

To avoid without moderation.

Woman Is the Future of Man (2004)

My first but not last Hong Sangsoo film

[7/10 · 15 November 2012]

It has been a couple of years that I heard the name Hong Sangsoo and of his reputation. I'm a fan of Eric Rohmer and to have somebody follow in his tradition with glowing reviews immediately compelled me to seek out his films. His films aren't the easiest to come by so I immediately grabbed this film when I saw it.

I was not the slightest bit disappointed.

There was certainly an ethereal quality to this film and an indefinable stamp of a director unto himself. The decors are simple and not manipulated but at the same time there is a depth and simplicity in each shot. There is such a control of what we the viewer can see and what is not shown.

The relationships are complex and real. The tension is palpable in several scenes. My heart really went out to the characters during the course of the film. I even had a change of heart. I didn't feel manipulated by the nature of the characters but I felt free to choose. A second viewing might be rewarding to see another perspective.

In contrast to others I found the soundtrack unique and appropriate. I also appreciate that, like Rohmer, there is humor throughout the film.

This film has revitalised my opinion on Korean cinema which I had a pretty dire view on before (I lived there a few years ago). I also have a new director forefront in my mind whom I must discover more of.

Mariage (1974)

Marriage as seen by Lelouch

[7/10 · 26 June 2012]

In contrast to other Lelouch films that I have seen this seems to be on a smaller scale; yes there is still the war and the resistance but it does not distract from the essence of the film.

It is the life of a married couple between four walls. There is comedy in the film, but the laughter is spiked with pity. Through force of habit the couple become the victims of their own routines. There is the broken fuse box, the tap with too much pressure, the window too hard to open and my favourite, the slippers in the lounge room. Washing teeth, grinding coffee, anniversaries... Repetition upon repetition is the sad reality, and this film becomes a tragedy.

Lelouch films the space very well. We spend most of our time in windowless rooms with old wall paper. It's a suffocating and stifling place. There is no grandiose sets or overseas romps as I would suspect in a Lelouch film, but instead a very subdued and enthralling unraveling of a confined space.

The married couple works well and they rightfully dominate most all of the screen time. Thankfully we are not exposed too much to their son or secondary characters.

I was just slightly disappointed with the sentimental ending, and the deprecation of the characters seemed contrived. The plot technique of returning to the couple every 10 years didn't work one hundred percent and this could have been done with more grace. Overall I loved how the mad little habits the couple developed carried on through the years. This film really shows Lelouch's outstanding observational power if anything else.

August 32nd on Earth (1998)

Good intentions - but - ultimately flawed film

[4/10 · 1 November 2011]

A crash. As a result how a person may evaluate what's really important in life. This is not an altogether unfamiliar scenario and one that can be done well.

This film struck me as distinctly not knowing where it stood. Was it a full-on soul searching drama. Was it a light comedy? Was it an off the cuff indie film? Was it a road film? It seemed to jump from each to each depending on the directors mood I guess. I know well enough that a film could be several things but in this case it was clear as day, as least for me, that the director could not piece the film together to build any tension or rhythm.

I could not join the dots. It seems as if the characters underwent no transformation. The characters were mildly interesting at best and struck me as selfish. The dialogue was uninteresting. Jean Seberg's poster reminded me that two people talking about nothing could be fascinating, as in Godard's "a bout de soufflé" (breathless). Not here.

I saw Bergman's 'Summer with Monika' which has two young people living on an island for a summer. That film had tension, passion and ultimately a conclusion that we cared about. Just when this film couldn't get any worse he goes and gets a coma. Who cares. "I Know. It's Serious" Morrissey. Thankyou.

Germinal (1993)

An engrossing film from start to finish

[8/10 · 6 March 2011]

The pacing of this film was very well done. Not a scene didn't feel like it didn't belong. The production and the recreation of the era was very convincing, much credit to the director who got this right when it's so easy to get it wrong.

The acting was excellent, Depardieu as always fantastic, he was convincing as a hard-working simple man finally at breaking point. The brute was played excellently. Lantier won me over as the film went along. And if I remember correctly the Russian(or Polish) anarchist from the book stole every scene he was in. And of the course the women...(except for that one scene haha) Some people are saying this film is too leftist, but there are scenes to differ as with the book. Essentially a idea proposed is that a working man given a fortune will inevitably go down the same path as the bourgeois. They feel at once hate and envy.

A very good film and very grim but not nearly so much as the book.

Black Swan (2010)

Didn't rock my world

[6/10 · 22 February 2011]

I cannot even try to add to the plethora of posts critiquing this film. I can simply say the things which would have made this film great in my opinion.

I've seen a couple of people mention Mulholland drive and David Lynch. I only wish the director could have gone down this route a little more. There is a scene where she is training alone and the lights go off. She walks on stage into a shot which could have been taken directly from Mulholland drive, later she she goes backstage where two people are getting it on (imagined or not, I don't know). This scene worked very well. The director does not have the ability to pace and film a scene like Lynch, who can make a tension absoulute.

It does become a sort of cliché fest. Inevitably we have to follow and follow. No surprises with the conclusion of the film, I think most of us knew she was suffering from multiple personalities. Perhaps the director could think outside of the box, that he has already thought outside of.

All in all a pleasant unpleasant experience, but it did not rock my world or my foundations.

I Love You, I Love You (1968)

Back to the future (resnais style)

[8/10 · 22 December 2010]

After having seen three films of Alain Resnais over the past few years 'Last year at Marienbad, 'Hiroshima Mon Amour' and 'Mon Oncle d'Amerique' I think he is a director well worth the effort to learn a little more about.

Resnais plays with time here and films directly what happens in the conscious of the protagonist. Impossible to place in time and place a linear narrative from the short fragmatic bursts of scenes. Eventually these scenes, disposed and diced, give the mesh or framework leading to his eventual suicide attempt. To make things more confusing it is possible that some scenes are in fact his fantasies and he didn't live them at all.

I like very much films that deal with time and space when handled by great directors. You leave the cinema often slightly confused as you are thrown back into reality. The film calls for a lot of reflection.

Love Is a Funny Thing (1969)

Another reminder why it's OK to like Lelouch

[8/10 · 18 December 2010]

This is a visually stunning road movie. An actor and a composer commence a trip across America, unplanned and on the whim. Interesting dynamic between the two leads, both very successful and confident in their own skins, they finally both meet their match and a romance starts. As with the genre of the road movie eventually it falls apart and both return to their respective realities.

Full of comedy that works, for example the scene where they are pulled over by the police. Even the flights of fancy, when Belmondo becomes an Indian, work very well. Some very interesting reminders of what was acceptable back in the late 60's (the scene in the vegas casino).

Lelouch has been targeted by the critics notably in France. It's unexplainable for me. There are those among the French critics who are extra hard on their own directors and Lelouch having an unmistakable style which often defies the school of thought and also having a career over 40 years is obviously an easy target.

The Princess of Montpensier (2010)

Tavernier takes us to middle ages

[7/10 · 17 November 2010]

What I think was done very well in this film by Tavernier was the decors. Tavernier being a very gifted and talented director when faced with the challenge of recreating the middle ages succeeds like no other director in very recent memory. The exteriors, interiors and costumes are presented convincingly. He shows the nature without overdoing it. We are in the middle ages without being shown cliché after cliché.

There was one fact which may or may not be hard to swallow. I think there may be a divide amongst spectators in regards to the young cast, the exception being Lambert Wilson who in my opinion was exceptional as he was in the other film of this year Des Hommes et Des Dieux. While I could tolerate the young cast I didn't by no means fall in love with them, which could have affected my slight detachment from the action on screen. The weakest in my opinion, and I'm sure there will be some who disagree with me and they are right to do so, was the princess herself. I can't explain it but when she was on the screen I was almost at the point of irritation. Admittedly this is quite subjective and I didn't find her looks and full lips as my ideal of beauty, moreover I found her insatiable in her desires but I think I was suppose to believe she was passionate. If I didn't believe that the Princesse was a creature of passion but more-so a selfish materialist how could I fall in love with the story? Aside from minor nitpicking, I found the sparse battle scenes excellent! It was such a refreshing experience to see battles treated in this way. I almost wish there was more.

What I take from this film was a real master class in how to render a medieval world. As I predicted a director of Tavernier caliber would not get this wrong.

Of Gods and Men (2010)

I was taken elsewhere by this film

[8/10 · 30 September 2010]

At the strong recommendation of the panel of 'Le Masque et La Plume' I went to see this film.

I was struck by, as others have said here, the fraternity that existed between the priests. I thought the most interesting aspect of the film was the relationship between the priests. At times you can feel the tension because of the strong decision they had to make. Also it being 7-8 men living together it was interesting to see the different personalities in a group environment; you have the natural leader, the introverted, the brave, the scared etc.etc.

I imagine like most people who've seen this film the performance by Wilson Lambert was very touching. He was totally believable as the cloister's leader.

Unfortunately the church is undergoing a very hard time in regards mostly to child abuse, it's nice to have a reminder of the positive aspects. I myself went to a catholic school with some Brothers and a monastery on campus. I have a very positive image.

Particular favourite scenes are when they prepare and sell the honey at market and of course when they listen to Swan Lake and enjoy a glass of wine.

Edith and Marcel (1983)

If I had the choice between two of the Piaf films

[8/10 · 13 September 2010]

Inevitably having seen 'La vie en rose' I will want to draw conclusions between these two films. 'La vie en rose' is a film that's nicely packaged. It resembles most bio-pics with just slight deviations from the formula which are milady interesting. As a film it faithfully uses common techniques whilst adhering to a strict sense of reality.

Now for Marcel and Edith. Like another reviewer pointed out this film is an invitation into a different world. The camera twists spins pans and hovers through this world. Edith moves away from the microphone singing yet we still hear her voice. Lelouch interposes a second story unrelated to Ediths life. Lelouch exchanges strict adherence to reality for a dream like flow. This could be interpreted by less open-minded people as amateurish filming, as I can see it has by another reviewer who unfailing pointed out the boxing scenes as I knew some fool would.

Let's not forget we are watching the 7th art here. We have the choice between a faithful somewhat lifeless bio-pic or a film that explores the boundaries of film as an art form. I think the latter was more rewarding.

There is one scene almost identical in both films, when Marcel & Edith have their first date and eat pastrami. Lelouch's interpretation is the one full of charm the other well, it's charmless.

Full Moon in Paris (1984)

Intellectuals, woman in crisis - Yes another Rohmer film

[8/10 · 30 August 2010]

One of the things Rohmer does which I have not seen with any other director is to take a location, seemingly dull, far from beautiful and somehow he renders it of utmost important to his story. In 'La femme d'aviateur' it's the interiors of Paris apartments and a moderate park in Paris called Le Parc de Buttes Chaumont. In 'Pauline a la plage' and 'Le Rayon Vert' there is an emphasis on the changes in people when you take them out of their daily routine and normal environment, specifically when they are on vacation, a very important part of French life.

In this film 'Les nuits de la pleine lune' (Full Moon in Paris) and L'ami de mon amie', he films relatively new suburbs of Paris with new ideas on architecture, new ideas on living and with young successful people. Most directors would never bother to even visit these grotesque modern suburbs, let alone film a film there. However it works with this film and L'ami de mon amie'. Why I don't know, but we know that it is a crucial element to the emotional journey of the main character in this film - her displacement between Paris and the suburbs. She prefers the chaos of Paris to the straight lines and cubism of her suburban apartment.

I thought Pascale Ogier was fantastic as the lead in this film. I think Rohmer has a fantastic knack for choosing lead woman, with only one exception in my mind to this rule. They are usually petite, fragile, mystically beautiful.....What I thought of when watching Pascale Ogier as Louise was a cat. Her slinky movements, her lazy eyes, her calmness, her desire for space - not your average women. I read just one year after making the film she died of a heart attack at the age of 26.

All in all an average or above average Rohmer film (which it not a bad thing). It sweeps over you with it's subtle charms and before you know it you will be under the film's spell.

A Bad Son (1980)

Prodical son returns...

[8/10 · 17 August 2010]

I'm the second to review this? I borrowed this film from a local French library. I sat down with a coffee and was entranced with from beginning to end.

The film is about the relationship between a father and son. The son returns to France and to life after several years in an American gaol. The son wants to begin relations with his father anew but the father has trouble with that idea.

You could say that the father is someone who is strict and has trouble expressing his feelings and opening himself up. He is ruthlessly unforgiving with his son. This is not a one dimensional character and thats what makes him so intriguing.

Equally Partick Deweare, whom I've come to know and love, is enchantic as the son. He oozes charm and his mere presence on the screen without saying a word conveys so many things.

The two fight and make up then fight and make up, and like another reviewer said the director takes the time to film them preparing coffee. Even that is fascinating in this film. A true find for me and pure cinematic gem. Enjoy!

L.627 (1992)

A really eye opener

[8/10 · 17 August 2010]

This film was a relentless eye opener to a seedy world which we do not want to believe is true but unfortunately as in the case of Paris it has only gotten worse.

What makes the film work? Well I think it works because of the broken up and choppy style between scenes. We do not move from scene 1 to 2 to 3 until eventually we come to a happy conclusion, instead we are moved here and there not ultimately leading us to a big bust or the worst bad guy, but simply the guys the police have to deal with on a daily basis. At least for me these small time crimes are reflective of real police work, we are not chasing some super intelligent sicko serial killer here, it's not CSI, Bones, or any of those silly shows.

In a perfect world the police would have the resources and power to stop illegal acts, but the police force like any large government institution becomes bogged down and convoluted under it's own weight. Imagine writing off to the stationery department to get a stapler if you were a cop, this would invariably happen. And at least Tavernier can show us the unglorious truth in it's ridiculous splendour.

There is also no black and white areas here. The police give junkies drugs for information. They use some tough methods with the criminals. They're methods are often made up on the spot and often things go horribly wrong.

I cannot recommend this film enough. I picked it up on the off chance and I was not at all disappointed.

Micmacs (2009)

Jeunet does it again

[3/10 · 17 August 2010]

Is this is what people think of when they think of French films? If it is the case then I would be disappointed as well.

What I expect I may hear from people is 'it is quirky' it's a bit of fun'. For me those kind of statements have no kind of importance. It is either good or bad. It can be good and quirky, or bad and quirky. This film is just bad.

At the beginning we meet a band of misfits and yes its mildly interesting to see them in their little corner of Paris, but after that we have this story line that unfolds like clock-work. Once the storyline is revealed we inevitably have to follow and follow and follow. The story for me at least is a very old one. Good guy versus big bad corporation. Good guy wins and everyone is happy. No amount of misfits and awkward situations cannot disguise the fact that this film is about as one dimensional as Mills and Boon novel.

Unfortunately Jeunet hasn't given us anything nearly as magical as Amelie since it came out. That film at least had a sense of wonder and magic and deserved praise.

Inception (2010)

Who dreamed this fodder?

[5/10 · 15 August 2010]

For a film that deals in the world of dreams this film lacks a lot of imagination. I think that in being a Hollywood blockbuster it had to tick a certain amount of boxes that are necessary for the monumental amounts of money that are thrown at it.

The first 30 minutes I was interested by the concept and the pacing of the film. The concept of espionage within a dream is an interesting enough concept. I was very open and excited by the idea of going into the world of dreams with the characters. I wish they could have perhaps explored a little more and pushed the boundaries of the dreams. It seemed that time and space flowed a little too seamlessly. Perhaps Kafka's 'The Trial' or a more Cronenberg style would have helped.

After the first 30 minutes it sunk into the normal plodding of a Hollywood blockbuster. Are we watching Mission Impossible or a film about dreams? Unfortunately the last two thirds of the film were more Mission Impossible. I couldn't help thinking of the could have beens. All I remember is a van falling for two hours, some irrelevant action scenes in the tundra, and an in-durable no gravity scene which had me yawning.

Oh and am I the only one who cannot stand Marion Coutillard?

A Good Marriage (1982)

A very good Rohmer film

[7/10 · 15 August 2010]

I'm a fan of the hushed qualities which are Rohmer's style. I admire the seamless flow between scenes in this film, between Paris, Le mans, the atelier, the train and her mothers house. Noteworthy is the almost complete lack of music as with many of his films, however there is a poignant somewhat outdated 80's electronic tune that runs in the beginning, the credits and at the party.

I found myself a little less hooked emotionally with this film then with 'Le Rayon Vert', 'Pauline a la Plage, and 'L'ami de Mon Amie'. When I watched those films I was really pulled at the heart strings by the plight of some of the characters.

What was different with this film? Well on the contrary to what others have wrote here I didn't find the leading actress Beatrice Romand to be nearly as compelling as Rohmer's other leads. I think she took the idea of a head strong young woman a little too far, ie; marching around like a bulldog for half the film, seemingly bursting in and out where ever she went. I think she could have played the head-strong role with a bit more subtlety. However at the scene of her party and in one of the final scenes in an office she played the role divinely. Particularly at the party there is a sense of tension which is unexplainable which she radiates.

As a big fan of Rohmer and comparing with his other works I give this film a 7. This film for someone who has not experienced a Rohmer film will be like an almigthy gob smack. You will see with the simplest elements and without manipulation he is able to create a sense of compassion for the characters and tension with a slight pacing that resembles real life.