Inception, Inception, Inception. It's the talk of the town, isn't it? I know I, for one, have been fangirling all over that thing for months. But, to be quite honest, I've quieted down a lot about it in recent weeks as it really approached. I've been excited for it, yes, but I was avoiding learning too much, theorizing too much, because I really like the experience of seeing a movie without truly knowing what you are going to get out of it. I had seen the basic trailers, but I avoided the spoilers, the plot details, pretty much all of it beyond the very basics everyone knew.
It paid off for me. I didn't even see the movie on opening day; I'd been thinking about a midnight screening, but had made plans to see it today and thought I might as well wait a couple extra days. I took my time, heard bits and pieces of the critiques, and just went into the movie without knowing precisely what I was getting.
I personally quite loved Inception. It was smart without being pretentious or much over my head, its cast was amazing, its technical side was stunning (that score! that cinematography! that EDITING!), and it was just an engrossing tale. Of course I applaud Christopher Nolan for his originality, but also for his dedication and his skill in bringing this fascinating tale to life. I thought the pace was tremendous as well, and like my favorite "long" movies, it didn't feel long in the least. I was thrilled to see more and more and more.
If I am to make a small comparison to The Dark Knight, however, I would say that the pace is better in Inception. I know there is some criticism about the ever-high tension of The Dark Knight, which I personally loved, and is still very much apparent in Inception. However, as Inception works in the layers that it does of the dream world, rather than through a straight time-line of different conflicts in The Dark Knight, the ever-heightened tension works better for Inception. That is really the only comparison I want to make between the two, because their handling is not so different despite their much different stories and tones in regards to the pacing of the films.
I want to watch Inception again, of course, before I really decide how much I liked it. I do know that I want the Academy to recognize it because it is brilliant and it is well-crafted and it is original. I know that many will argue that Christopher Nolan deserves his due because of the snub for The Dark Knight, but that's not why I want him to get recognized. I want him to get recognized because he has done consistently great work and this may not be his most critically-acclaimed film, but it is clearly one he poured himself into and is so very much his.
No matter if the Academy ends up acknowledging Nolan despite their snub of The Dark Knight and his work on it, they still snubbed a great modern film two years ago. Call me a fangirl all you want, but The Dark Knight is a freakin' fantastic movie and of all the Academy snubs in recent years, that is one of the most egregious, in my opinion.
But back to Inception. I really don't have a whole lot to say about it because though certain things stand out, every moment was as well-crafted as the last and the next. I did not see and points that made it weak. In its own concept, in its own world, it was done just right. Are there better movies, better tales both original and adapted? Sure, probably. But that does not take away from Inception's perfection in and of itself. I, personally, wouldn't change a thing about it. I wouldn't dare touch it.
Showing posts with label epic. Show all posts
Showing posts with label epic. Show all posts
Monday, July 19, 2010
Friday, June 18, 2010
Toy Story 3
This is a comment I posted on awardsdaily.com on this newspost.
"I need to see this again. I was too emotionally crazed to really be able to tolerate anyone saying it was less than perfection. But I was in tears from the beginning, when we saw how many toys had disappeared over the years (not unlike my own storage units in the family garage, which are missing most of my old childhood toys), and barely held it together in the end when Andy played with his toys one last time with Bonnie. I was afraid I was going to audibly sob I couldn't stop crying.
Toy Story 3 may not be the best storytelling of some of the other films, but it is also clearly an installment in a franchise, which makes it different from most of the films. It is, indeed, its most emotional though. I have never been more touched by a movie in my life, but that's something my generation, who were kids when Toy Story first came out, and Toy Story 2, and now are coming back for thirds having been in Andy's exact place, is bound to experience. But I think it's something all adults can relate to and all kids will dread relating to (if I were young enough to still have toys in my room, you know I'd have gone home to instantly play with them for hours). Watching Woody, Buzz, and the gang go through all their trials is like watching what happens to your childhood, hoping that it doesn't get destroyed, but knowing it will never be the same as it was before, which is just as heart-breaking.
I don't know if I'll ever be able to rationally discuss Toy Story 3 because it just touched a place in me I'd forgotten I had. The first two feel so quaint and sweet these days, but this movie just feels too real, almost too personal, though I was never as cool a kid as Andy was, and I didn't love my toys quite the same way he did. But I think that just proves all the more what a fantastic movie it is, that it strikes a cord so strong that everything else beyond the tears and laughter is creates, doesn't really matter. It reminds me of Ego's review in Ratatouille, like all brilliant things do, and how technicalities and hard-hearts and reality aside, beauty is beauty and there are some things that are simply beyond proper criticism."
It'll be a long time before I can sum up my feelings on Toy Story 3 (I only left the theater about two hours ago), but I think the first reaction matters almost as much as the last. And, boy oh boy, have I got a first reaction. I know it's still soon after, but this was just one of those movie-going experiences where I feel like I'm a different person on the other side and I have no idea how I've changed, but I just feel it, but it could also be the emotional overload from the past few hours... it's too confusing.
But I do know that I dug my stuffed animals out of a trash bag in my brother's room, gave them a talking to about how much I love them, and set several of them around my room, including my poor, mistreated American Girl dolls.
"I need to see this again. I was too emotionally crazed to really be able to tolerate anyone saying it was less than perfection. But I was in tears from the beginning, when we saw how many toys had disappeared over the years (not unlike my own storage units in the family garage, which are missing most of my old childhood toys), and barely held it together in the end when Andy played with his toys one last time with Bonnie. I was afraid I was going to audibly sob I couldn't stop crying.
Toy Story 3 may not be the best storytelling of some of the other films, but it is also clearly an installment in a franchise, which makes it different from most of the films. It is, indeed, its most emotional though. I have never been more touched by a movie in my life, but that's something my generation, who were kids when Toy Story first came out, and Toy Story 2, and now are coming back for thirds having been in Andy's exact place, is bound to experience. But I think it's something all adults can relate to and all kids will dread relating to (if I were young enough to still have toys in my room, you know I'd have gone home to instantly play with them for hours). Watching Woody, Buzz, and the gang go through all their trials is like watching what happens to your childhood, hoping that it doesn't get destroyed, but knowing it will never be the same as it was before, which is just as heart-breaking.
I don't know if I'll ever be able to rationally discuss Toy Story 3 because it just touched a place in me I'd forgotten I had. The first two feel so quaint and sweet these days, but this movie just feels too real, almost too personal, though I was never as cool a kid as Andy was, and I didn't love my toys quite the same way he did. But I think that just proves all the more what a fantastic movie it is, that it strikes a cord so strong that everything else beyond the tears and laughter is creates, doesn't really matter. It reminds me of Ego's review in Ratatouille, like all brilliant things do, and how technicalities and hard-hearts and reality aside, beauty is beauty and there are some things that are simply beyond proper criticism."
It'll be a long time before I can sum up my feelings on Toy Story 3 (I only left the theater about two hours ago), but I think the first reaction matters almost as much as the last. And, boy oh boy, have I got a first reaction. I know it's still soon after, but this was just one of those movie-going experiences where I feel like I'm a different person on the other side and I have no idea how I've changed, but I just feel it, but it could also be the emotional overload from the past few hours... it's too confusing.
But I do know that I dug my stuffed animals out of a trash bag in my brother's room, gave them a talking to about how much I love them, and set several of them around my room, including my poor, mistreated American Girl dolls.
Saturday, March 27, 2010
YARGH VIKINGS!
Earlier this evening, I went to see How to Train Your Dragon, fully aware that this screening would include lots of children. It's been a while since I've been afraid to see a movie by myself and that includes "children's" movies. Some movies, yes, are explicitly made for those under eight-years-old and can only really be appreciated by that crowd. But the best children's movies aren't exclusive to just children.
The only real downside aside from looking like a creeper to being probably the only person over 12 without a child in the vicinity (and if anyone else was my age or older without a child there, they likely brought a friend or date) is that the little children who are unable to whisper might destroy my enjoyment. This isn't the first time I've dealt with this, though; I saw Ratatouille, WALL-E, Up, and The Princess and the Frog in theatres filled with many children while I myself was old enough to be in the alternative R-rated films by myself. And while there were some very unhushed whispering, I managed to enjoy the movie anyway.
Well, actually, it was more than enjoy. How to Train Your Dragon was fantastic. The plot wasn't particularly surprising, but that doesn't make it any less enjoyable or any less well-done. I enjoyed those ninety-something minutes so much, so glad that despite being sick with a cold and plagued by an obnoxious headache, I made it out to see that movie, even with whispering tykes and a preview for what looks like the stupidest movie ever with a pornalicious title (FURRY VENGEANCE... REALLY?).
I'll never stop myself from seeing a movie just because its genre isn't made for me. My gender and my age have nothing to do with the movies I choose to see. I skip the bad rom coms (usually) and I absolutely love a good action flick (I even see some of the bad ones). I'll pass over some of the more dramatic fare made for my young adult status for animated films typically geared toward the younger generation, a la How to Train Your Dragon. Like many of the Pixar films I adore, How to Train Your Dragon follows in that grand tradition of being accessible for children and adults. I may be nearly twenty, I may have seen roughly a thousand movies, I may have seen many an experimental film, but I will not be jaded. A tale of a Viking boy and his fierce dragon is a tale worth seeing.
Simply put: How to Train Your Dragon was great. I highly recommend it for anyone.
Countdown to Kick-Ass: 19 days. YES.
The only real downside aside from looking like a creeper to being probably the only person over 12 without a child in the vicinity (and if anyone else was my age or older without a child there, they likely brought a friend or date) is that the little children who are unable to whisper might destroy my enjoyment. This isn't the first time I've dealt with this, though; I saw Ratatouille, WALL-E, Up, and The Princess and the Frog in theatres filled with many children while I myself was old enough to be in the alternative R-rated films by myself. And while there were some very unhushed whispering, I managed to enjoy the movie anyway.
Well, actually, it was more than enjoy. How to Train Your Dragon was fantastic. The plot wasn't particularly surprising, but that doesn't make it any less enjoyable or any less well-done. I enjoyed those ninety-something minutes so much, so glad that despite being sick with a cold and plagued by an obnoxious headache, I made it out to see that movie, even with whispering tykes and a preview for what looks like the stupidest movie ever with a pornalicious title (FURRY VENGEANCE... REALLY?).
I'll never stop myself from seeing a movie just because its genre isn't made for me. My gender and my age have nothing to do with the movies I choose to see. I skip the bad rom coms (usually) and I absolutely love a good action flick (I even see some of the bad ones). I'll pass over some of the more dramatic fare made for my young adult status for animated films typically geared toward the younger generation, a la How to Train Your Dragon. Like many of the Pixar films I adore, How to Train Your Dragon follows in that grand tradition of being accessible for children and adults. I may be nearly twenty, I may have seen roughly a thousand movies, I may have seen many an experimental film, but I will not be jaded. A tale of a Viking boy and his fierce dragon is a tale worth seeing.
Simply put: How to Train Your Dragon was great. I highly recommend it for anyone.
Countdown to Kick-Ass: 19 days. YES.
Monday, January 18, 2010
Top 16(!?) of 2009... well, in my opinion...
16 is a weird number.
This list is really more for myself than for anyone else because, well, to be frank, I doubt anyone but me reads this blog. But I have compiled the list of my favourite 16 movies from this year. It was a nice 15, but then I saw The Hurt Locker today and changed it... but anyway, this list is seriously lacking because, obviously, I haven't seen every movie released this past year. I have, at the end of this post, a list of movies I haven't seen but want to just to make clear that, yes, the reason this movie or that movie might not be included is because I just haven't seen it. But, without further ado, here is my ridiculously long list, because I just HAD to write this and that about each of the movies. The comprehensible full list, in proper order, can be found at the end.
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#16 Duplicity
I love a good caper and this one was legitimately very enjoyable. It had fun twists and turns, it had Clive Owen charming and sly and wonderful again (no wonder I wanted him for Bond during the Brosnan/Craig transition), Julia Roberts was similarly enjoyable, and simply overall it was a fun, time-twisting, delightful heist movie. Not the most memorable film of the year, but right up my alley.
#15 I Love You, Man
An unfortunately forgotten and incredibly enjoyable comedy from early on in the year, this is one of the funniest films I’ve seen this year (and yes, I saw The Hangover. Twice, actually; no Zombieland yet though). It didn’t set me off quite like Role Models did last year, but it was clever and fun and featured one of my favourite things: a well-done bromance.
#14 An Education
I’m not sure if I’m pleased with the direction the movie took, although that’s due to its source material I am sure, but I do know that the movie itself felt like a great journey that Carey Mulligan’s Jenny brought us along for. Seeing the new world, albeit a bit skeptically, as the fun and delightful and shady place she entered, growing up, getting her brand of education, learning and eventually, at the end, returning to where she belonged, but with a better sense of her life. Carey Mulligan is stunning, as is the supporting cast, from Alfred Molina as her gullible father to Rosamund Pike as her ditzy new-life friend to Olivia Williams as Jenny’s intelligent, guiding teacher who makes it all better.
#13 Adventureland
I saw this movie as part of a weekend home to celebrate my nineteenth birthday back in April, and it was such an honest film that I fell into it with ease. It wasn’t really trying for gimmicks and it wasn’t regurgitating anything I could recognize other than the nostalgia of something quite like an amusement park and the reality that they’re all pains in the ass (I went to two this past week while I was in southern California and I can’t see a single thing enjoyable about working there). But then, in the stupidest parts of life are some of the most fun and memorable bits, and a strange and great romance within. Adventureland has a great big heart and is so easy to access and enjoy. I still don’t understand why I was the only one so in love with it as we left the theatre.
#12 (500) Days of Summer
Many movies try to do things out of order to build suspension or to hint at future events or whatever, but most of the time I find these attempts to be useless and dull or sometimes too much (I’m looking at you, The Blind Side, for your weird flashforward to a confusing and utterly useless scene that does not build anything at all for your viewers). But with (500) Days of Summer, the out of order setting might not be necessary, but it doesn’t hurt the ride in the least, making it interesting rather than confusing, tantalizing rather than frustrating. The dance through time and between Joseph Gordon-Levitt’s Tom and Zooey Deschanel’s Summer is well-done and incredibly enjoyable and, well, the movie features one of the most satisfying endings of a film that is not necessarily happy I’ve seen recently. But in the interim between the beginning of summer and the beginning of autumn, the ride is fun and real and understandable. I give the movie a bit of shit for its similarities to How I Met Your Mother, but it’s not as if the television show’s premise isn’t any good. (500) Days of Summer was essentially a well-told story wrapped in a package wrapped with delightful scenes and a very cool dance routine.
#11 The Brothers Bloom
I said before that I like a good caper, and The Brothers Bloom is at the very minimum a clever caper of a film. Featuring a broody Adrien Brody and a charming Mark Ruffalo, not to mention an enjoyable eccentric Rachel Weisz and a scene-stealing, albeit silent, turn by Rinko Kikuchi, The Brothers Bloom is simply a brilliant sophomore work by Rian Johnson, who directed one of my favourite films of all time, Brick. But while his newest work focuses on something different, the stylistic flair of a confident director remains, allowing The Brothers Bloom to be something aside from your generic Ocean’s movies, featuring the typical leads (although, don’t get me wrong, I quite enjoy the Ocean’s franchise). Its plot is fun and twisty and quite fitting as it is, but it is mostly its flair that really gets me going, much like Rachel Weisz’s Penelope with that weird drunken montage with the train and the moans. Like Brick, The Brothers Bloom oozes with style and an air that the characters are not your everyday kind of people, but clearly something beyond the norm, people who will do these fantastic crazy things provided for them. I can’t wait for Rian Johnson’s third film.
#10 Bright Star
I have a mixed record with period romance types of films. I can be a sucker for them without really liking them, but there are some genuinely great ones, such as Sense and Sensibility, and, in this case, Bright Star. Featuring a romance that is sweet, real, and yet very untouchable, Bright Star isn’t obsessed either with chastity or bodice-ripping, something period romances tend to fall into traps with, but rather providing us with an intimate and sweet story. Jane Campion’s directing of Bright Star is among some of the most underappreciated of the year to me, and Bright Star also features stunning cinematography as well as art direction, costuming, and etc. It is one of the most visually beautiful films I saw this past year, watching with my eyes round as saucers as Fanny sat on her bed and the curtain blew in at her, sunlight streaking through, giving the movie an other-worldly feel, but not removing any connection I could feel. The acting was brilliant and it’s sad to have seen Abbie Cornish’s praise diminished nearly as soon as it had begun, but the work by Ben Whishaw and Paul Schneider especially was also very good, very moving, but nothing that felt forced or wrong. I expected to be a bit bored by the movie, not really involved, as when I went in, all I had heard was that Abbie Cornish was great in it. But I was surprisingly pleased when the whole movie fell so well with me. One of my favourite romances of the year, Bright Star is much more than that, showcasing a beautiful relationship much more than simply the romantic parts of it.
#9 Up in the Air
Up in the Air was a great ride to me, but, like An Education, some of the twists and turns I didn’t want to go down, particularly concerning the resolution of Ryan and Alex’s relationship. But all three leading actors were magnificent, getting the chance to see Clooney as more than just the self-assured man he was, but also as someone genuinely lost, Farmiga taking a character I normally wouldn’t be able to like but managing to, and Anna Kendrick pleasing me beyond all measure as, if not for Mo’Nique in Precious, the best supporting actress I’d seen all year. The story’s background, which Jason Reitman brought to great attention, was best described by some short silent moments, like Natalie in the empty room full of chairs, she and Ryan arriving in a cleared out building with a few terrified employees left for them to dispose of in Detroit, and, of course, the memorable scene of Natalie firing a man by video who is only in the next room. The movie is torn between the characters and the overarching theme, which don’t necessarily match up so easily, but finds a good balance and managed to strike a strong emotional chord with me.
#8 A Serious Man
I had some weird unknown beef with this film about the lack of ending that is so like the Coen brothers and so unpleasant for me about a movie supposedly based roughly off of The Book of Job which I had read earlier in the year for a class entitled Narratives of Suffering, which was a wonderful class that made me strongly appreciate different facets of storytelling that I hadn’t grasped previously. And if A Serious Man was not supposed to be based off of The Book of Job, I wouldn’t have any complaints… but The Book of Job is extremely important for its bizarrely happy ending, in which Job goes back to life with tenfold what he had before, not potentially dying or with his children facing an ominous and symbolic tornado. Ending aside, the movie itself is a great work by the Coen brothers, featuring a great turn by Michael Stuhlbarg and a good supporting cast (Stuhlbarg is on my ideal Oscar ballot for Best Actor and that ballot was one of the hardest for me), and the rest of the story struck me so strongly, as I spent the whole semester looking through fifteen different texts, trying to find the meaning of suffering, just as Larry does in A Serious Man, so I could sympathize with his journey, and I understood when he was forced to simply go back to life and ignore the questions (so like Job, until the extra couple minutes at the very end). I think my frustration simply comes from a place of great investment in the film, where Larry too feels such frustration and can understand it as easily as I do.
#7 Inglourious Basterds
I’ve been a fan of Quentin Tarantino’s work for, well, not a long time since I only really began dedicating myself so heavily to movies a couple of years ago, but about since that began. I’ve missed a few of his features (Jackie Brown and Grindhouse/Death Proof), but both Kill Bill movies and certainly Pulp Fiction would end up being some of my personal favourite movies. Inglourious Basterds has been lauded by many as perhaps his best film and, while I’m not sure I agree, I certainly do believe that it is a fantastic film unto itself. There was nothing more satisfying in cinema this past year than seeing history turned on its head with such appropriate irreverence. There was no performance as electrifying as Christoph Waltz’s all year. Not to mention the cast at large being great and Tarantino’s script being a fun masterpiece all on its own. The very cool film references to the time, which were fun (I had two classes last year where we talked at least a little bit about Goebbels, one of which was my documentary class with, of course, a section on propaganda, most famously on Triumph of the Will and other such projects of the WWII era). Regardless of my attachment to the littler parts of the film, there is such unpredictability when it comes to Tarantino’s works. Many films, you see a formula at work and you know what’s coming, who will survive, who will die, but when it comes to Tarantino, I’m not sure if he’s going to kill nobody, everybody, or some number in-between. There’s a whole different kind of suspense at work in Inglourious Basterds than can be found in other, more grim features such as The Hurt Locker, but this suspense isn’t nail-biting, it’s fun.
#6 Avatar
I know that there are a lot of people out there who are vehemently against Avatar, or who want to see it fail because of its populist image, or who simply just didn’t like it all too much or find it too reliant on the CGI and not enough on being original. And, as I tell most Avatar-haters, far too few “original” films have ever been made. But that is hardly a problem to me. Because one of the best things about Avatar is the familiar epic touch it has, unafraid to attempt a new language, a new species, a new world, all in the name of creating something truly escapist and enjoyable. Normally, I scoff a little when people say that they go to the movies to escape (which is a normal reaction, but movies are much more than that to me), but Avatar really was an escape, 160 minutes on Pandora, somewhere I want to return to and explore more and more of. Yes, the CGI is brilliant and there have been better scripts this year, but I hardly think that the script suffers because of too much emphasis on the CGI, or that the script suffers at all. There was no cheesy dialogue that made me cringe, nothing that made me roll my eyes or groan in disbelief. Everything was fitting and right and, well, it is certainly quotable (I have said “You’re not the only one with a gun, bitch” several times since I first saw it, actually, as, although hardly poetic, it is a great line). I see no reason to nitpick at Avatar, to complain about its similarities to other (mostly great) films, to make jokes about the Na’vi being smurfs or cat people, because it’s stupid to reduce such an epic to something so base (something I was responsible for doing to the Harry Potter book series before giving it a chance, reading it, and unabashedly loving it). Avatar is not the best film made this year, but it is one of the most enjoyable, stunning, and engrossing. It stole me away in a manner few other films managed to this year, and I cannot ignore the longing I feel within me to keep going back, to want more of Pandora, more of this new world. As cheesy as this sounds, far more cheesy than anything from Avatar, my heart is what assures me that I loved that movie. And, honestly, if your heart isn’t in a movie, if you can’t feel it tugging at you, then there’s no legitimate connection.
#5 Star Trek
Raised on Star Wars as opposed to Star Trek, I’d never had an interest in the franchise, and since I saw the new Star Trek movie, I tried my hand a bit at some of the older fare, two of the movies (Voyage Home and Wrath of Khan) and a few minutes of one of the original series episodes and I realized that no, the reason I like the new Star Trek movie has nothing to do with the source material and everything to do with it being, on its own, a fantastic ride. Star Trek features a fantastic cast, which is one reason it originally caught my attention. Led by the before-unknown (although I’d had a celebrity crush on him since The Princess Diaries 2) Chris Pine as the fantastically cocky and amazing Captain Kirk, and Sylar’s Zachary Quinto proving that his brilliance as Sylar (even as Heroes fell further and further into suckage) was only the tip of the acting iceberg. The supporting cast was also built up with two-time sci-fi stars this year Anton Yelchin (one of my favourite parts of Terminator Salvation) and Zoe Saldana (in that little film a lot of other people saw called Avatar), Eomer’s Karl Urban, Brit Simon Pegg, Harold and Kumar’s John Cho, and Eric Bana in a limited, but strong, villainous role. All of the supporting cast, although faced with generally limited screen time, made the most of their appearances on camera. Star Trek also featured probably my second favourite opening sequence of this year (the first being Up’s story of Carl and Ellie): the brilliant space battle where George Kirk died and James Kirk was born. Upon second viewing, this opening nearly brought me to tears it was so grand. I’d really like to give some credit to Star Trek’s great score here too. Beyond the opening, Star Trek didn’t waste any time. It told a good story, strong, but nothing spectacular, and introduced familiar characters (well, to other people) in a way that someone a Star Trek newbie like me could understand and appreciate them without thinking that too much is being thrown in at once. I’m a sucker for quality space operas, and Star Trek is, at the heart, exactly that. The film is stunning in every manner and has a humour without selling itself short, without resulting in the camp I later saw in the original version. Star Trek is one of the most delightfully and simply enjoyable movies I saw this year, not the smartest but smart, not the best but excellent, and not the wildest but incredibly entertaining.
#4 The Damned United
The Damned United is probably the best sports movie I have ever seen, and my prior knowledge of British football is that my friends all tend to be Manchester United fans and that Chelsea supposedly sucks and we Americans have David Beckham now. I went into the movie, fearing that I might be confused or lost, but that was hardly true. The Damned United was extremely accessible and highly gratifying. Not to mention that it contained one of my favourite bromances of all time, led by two talented actors, Michael Sheen and Timothy Spall. I hate that Michael Sheen will once again not be recognized for his masterful work here, and that Timothy Spall has been equally ignored, but I feel extremely privileged to have gotten the chance to watch the film and fall in love with it. It felt so good, watching Brian Clough and Peter Taylor kick ass and move up the ranks in the sport they clearly have a talent for working at. Not a moment is wasted and there is nothing in the film that bothered me in the least. Michael Sheen played Clough with impeccable talent, making a man that we root passionately for and yet don’t groan too loudly in frustration when he makes a stupid mistake, and then cheer for as he grows up and learns his place and begs for his dearest and best friend back on his knees (an amazing, amazing moment). It is such a flawless portrait of a man and his ambition and arrogance, but also his care and love and understandable determination. Not to mention that the sports part is very entertaining, something that doesn’t always catch my eye in a film (or in sports in general, as they tend to bore me).
#3 District 9
It’s been a little while since I went to Johannesburg with Sharlto Copley and the aliens derogatorily called the “prawns,” but I remember how satisfied and pleased I was with the movie. One of my biggest upsets with the awards season thus far is, not only the lackluster love for the movie, but also the total neglect for its heart and soul, no matter how blackened that heart seems at time, Sharlto Copley as perhaps my favourite lead performance of the year: Wikus. Wikus is ordinary and boring and he doesn’t transform into the hero in the end, doesn’t undergo some miraculous personality shift and change his allegiance because of deep love the way Jake Sully does in Avatar. Rather, Wikus distrusts his new allies to the end, wants more than anything to be human again, although he clearly has come to understand the hardships of the imprisoned aliens in the process. The effects and technology of the movie boast of a gigantic budget the film never had and never needed, giving us proof that while some movies like Avatar can prove that their big budget was worth it, you don’t need such a budget to make a sci-fi epic. With its excellent story straight out of reality, showcasing any instance of segregation (most notably Apartheid, of course), District 9 moves to become more than a sob story of a repressed race and doesn’t come around to have the natives win at life, but gives us a real portrayal of a struggle and the slow resolution that comes with real stories. There’s nothing I dislike about District 9, and it makes me confident in the ability of unknown filmmakers to provide us with a stunning vision where the movie doesn’t need stars, big names, or lots of money to get the story out… and make a great deal of money while at it. Paranormal Activity might be the low budget film story of the year, and I haven’t seen it, but District 9 is all the more impressive for the scale it dishes out, the epic quality of it, without trying too hard or selling out.
#2 The Hurt Locker
The most recent of the films I have watched, it reminded me of something a few of my friends complained about when watching The Dark Knight, about how the movie felt like it was always at a climax, building and building and building. That was one of my favourite things about The Dark Knight and the constant intensity and anything-can-happen spirit of The Hurt Locker made it instantly shoot to the near-top of my list of my favourite movies of the past year. I skimmed the Wikipedia article just now and was pleased and impressed to see how influenced the film was by Kathryn Bigelow’s excellent vision, even when talking about something that to passer-by fans is totally useless, like the type of stock used, Bigelow amazes me; I’ve used 16mm film and it doesn’t look anything near the artistic mastery shown in her piece (granted, she used Super 16, but regardless, they’re ultimately quite similar in my humble, barely educated opinion). The cast itself is stunning and it was a nice surprise to see beyond the amazing three leads some familiar faces; I kept arguing with myself “That’s Ralph Fiennes! Is that possible? Could it be?” and he’s barely in the movie, but even characters like his that only appear for short bursts are excellently portrayed. You can see writer Mike Boal’s experiences and trust in them to show such a stunning and engrossing adaptation of the real events of the War in Iraq (though, technically, as my documentary film professor reminded me, war was never officially proclaimed, but let’s not get into technicalities like this just now). The focus on the bomb squad, specifically on that 38 day rotation we saw them through, made the movie so much better than it could have been if it had tried to be any of the other sappy, dramatic epics trying to capture the whole thing. I’ll be sad to see the supporting cast, Anthony Mackie and Brian Geraghty, not get the attention they deserve, but awards season is always tough. I do hope that The Hurt Locker pulls out to be the winner. I know some audiences don’t like it when the little unknown wins (well, that is, if it didn’t make as much money as Slumdog Millionaire, Little Miss Sunshine, or Juno, which I’d reckon a guess The Hurt Locker hasn’t), but The Hurt Locker is definitely the more masterfully made movie over its main competitor, Avatar (although it is also on my list of favourite movies this past year). All in all, I will stop weighing its awards chances and leave it at this: I am so glad I got the chance to rush into danger along with The Hurt Locker, feeling the experience very strongly, and although not wanting to go back to Iraq like one would want to go back to Pandora, understanding the other-worldliness and relishing it nonetheless.
#1 Up
There were a lot of good films this year that I saw and that I didn’t see, but Pixar has a habit of stealing my heart, ever since I first saw Toy Story when I was only just learning to spell. I first saw Up at the drive-in with my friend, her boyfriend, and her mom, and so I put a lot of effort into not crying during the movie. Then, a couple weeks later, after being in a horrible mood all evening, I rushed out at night and went to see Up and cried several times, feeling wonderful the whole time. Up is a beautiful portrait of, excuse my sort-of lifting of The Lovely Bones’ tagline but, a beautiful marriage and everything that came after. As many have said before me and many will say after, the first ten-odd minutes of the movie are enough to prove the movie’s excellence, much like people said of WALL-E’s opening half an hour. But then, the movie goes on past Ellie’s death and proves to us, like Pixar is so skilled at doing, that although the introduction is a story onto itself, stories are vaster and more grand than even the span of seventy years in the life of Carl Fredricksen. And those seventy years, illustrated in mere minutes, seemingly insignificant to the rest of the film, were everything and represented more than any words could ever say. When I first showed my mother the film recently after acquiring it on DVD, she saw Carl, older, alone, walk past the empty “Paradise Falls” coin collector and sighed, “It’s so easy to forget your dreams.” But I glanced over at her and told her to keep watching the movie, because as the movie teaches us, Carl’s life wasn’t one into which he settled and was deprived of the adventure he wanted when he was young, nor was Ellie’s – they both lived full and wonderful lives of strong love between them, many years of affection and care that are impossible to count out. The rest of the movie, beyond Carl and Ellie’s story, is a wonderful example of the adventure that Carl had wanted, but never needed, but it did allow him to appreciate, as Russel mentions, “the little things,” like eating ice cream on a curb, playing pointless, silly games, and so on. Dug too, although I was initially wary of having talking dogs (especially talking dogs that fly fighter planes), plays a beautiful role in the education of Carl, especially when complemented by the separate, but equally heart-warming, short film “Dug’s Special Mission.” Up is visually beautiful, the score is extremely fitting and one of my favourites of the year, but its story is, unsurprisingly, its best element. I will never tire of the masterpieces Pixar manages to churn out.
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FULL LIST:
#1 Up
#2 The Hurt Locker
#3 District 9
#4 The Damned United
#5 Star Trek
#6 Avatar
#7 Inglourious Basterds
#8 A Serious Man
#9 Up in the Air
#10 Bright Star
#11 The Brothers Bloom
#12 (500) Days of Summer
#13 Adventureland
#14 An Education
#15 I Love You, Man
#16 Duplicity
And as a special treat, I’m taking the People’s Choice Awards categories (because it’s funny) and naming my favourites:
Favourite Movie Actor: Sharlto Copley
Favourite Movie Actress: Meryl Streep
Favourite Action Star: Jeremy Renner*
Favourite Breakout Movie Actor: Sharlto Copley
Favourite Breakout Movie Actress: Anna Kendrick
Favourite On-Screen Team: Michael Sheen and Timothy Spall
Favourite Independent Movie: District 9 or The Hurt Locker
Favourite Comedy Movie: I Love You, Man
Favourite Movie: Up
*Because his character’s attitude to defusing bombs is totally that of an action star.
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Disclaimer of movies I've missed:
I haven’t seen several movies I might enjoy as much if not more, or at least want to see, including, but perhaps not limited to: Nine, Zombieland, A Single Man, The Lovely Bones, Crazy Heart, The Road, Bad Lieutenant, Broken Embraces, The White Ribbon, The Beaches of Agnes, Good Hair, The Cove, Food Inc., Every Little Step, Anvil! The Story of Anvil, A Prophet, The Messenger, The Maid, Whip It, Capitalism: A Love Story, Ponyo, Cloudy with a Chance of Meatballs, In the Loop, and Moon.
This list is really more for myself than for anyone else because, well, to be frank, I doubt anyone but me reads this blog. But I have compiled the list of my favourite 16 movies from this year. It was a nice 15, but then I saw The Hurt Locker today and changed it... but anyway, this list is seriously lacking because, obviously, I haven't seen every movie released this past year. I have, at the end of this post, a list of movies I haven't seen but want to just to make clear that, yes, the reason this movie or that movie might not be included is because I just haven't seen it. But, without further ado, here is my ridiculously long list, because I just HAD to write this and that about each of the movies. The comprehensible full list, in proper order, can be found at the end.
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#16 Duplicity
I love a good caper and this one was legitimately very enjoyable. It had fun twists and turns, it had Clive Owen charming and sly and wonderful again (no wonder I wanted him for Bond during the Brosnan/Craig transition), Julia Roberts was similarly enjoyable, and simply overall it was a fun, time-twisting, delightful heist movie. Not the most memorable film of the year, but right up my alley.
#15 I Love You, Man
An unfortunately forgotten and incredibly enjoyable comedy from early on in the year, this is one of the funniest films I’ve seen this year (and yes, I saw The Hangover. Twice, actually; no Zombieland yet though). It didn’t set me off quite like Role Models did last year, but it was clever and fun and featured one of my favourite things: a well-done bromance.
#14 An Education
I’m not sure if I’m pleased with the direction the movie took, although that’s due to its source material I am sure, but I do know that the movie itself felt like a great journey that Carey Mulligan’s Jenny brought us along for. Seeing the new world, albeit a bit skeptically, as the fun and delightful and shady place she entered, growing up, getting her brand of education, learning and eventually, at the end, returning to where she belonged, but with a better sense of her life. Carey Mulligan is stunning, as is the supporting cast, from Alfred Molina as her gullible father to Rosamund Pike as her ditzy new-life friend to Olivia Williams as Jenny’s intelligent, guiding teacher who makes it all better.
#13 Adventureland
I saw this movie as part of a weekend home to celebrate my nineteenth birthday back in April, and it was such an honest film that I fell into it with ease. It wasn’t really trying for gimmicks and it wasn’t regurgitating anything I could recognize other than the nostalgia of something quite like an amusement park and the reality that they’re all pains in the ass (I went to two this past week while I was in southern California and I can’t see a single thing enjoyable about working there). But then, in the stupidest parts of life are some of the most fun and memorable bits, and a strange and great romance within. Adventureland has a great big heart and is so easy to access and enjoy. I still don’t understand why I was the only one so in love with it as we left the theatre.
#12 (500) Days of Summer
Many movies try to do things out of order to build suspension or to hint at future events or whatever, but most of the time I find these attempts to be useless and dull or sometimes too much (I’m looking at you, The Blind Side, for your weird flashforward to a confusing and utterly useless scene that does not build anything at all for your viewers). But with (500) Days of Summer, the out of order setting might not be necessary, but it doesn’t hurt the ride in the least, making it interesting rather than confusing, tantalizing rather than frustrating. The dance through time and between Joseph Gordon-Levitt’s Tom and Zooey Deschanel’s Summer is well-done and incredibly enjoyable and, well, the movie features one of the most satisfying endings of a film that is not necessarily happy I’ve seen recently. But in the interim between the beginning of summer and the beginning of autumn, the ride is fun and real and understandable. I give the movie a bit of shit for its similarities to How I Met Your Mother, but it’s not as if the television show’s premise isn’t any good. (500) Days of Summer was essentially a well-told story wrapped in a package wrapped with delightful scenes and a very cool dance routine.
#11 The Brothers Bloom
I said before that I like a good caper, and The Brothers Bloom is at the very minimum a clever caper of a film. Featuring a broody Adrien Brody and a charming Mark Ruffalo, not to mention an enjoyable eccentric Rachel Weisz and a scene-stealing, albeit silent, turn by Rinko Kikuchi, The Brothers Bloom is simply a brilliant sophomore work by Rian Johnson, who directed one of my favourite films of all time, Brick. But while his newest work focuses on something different, the stylistic flair of a confident director remains, allowing The Brothers Bloom to be something aside from your generic Ocean’s movies, featuring the typical leads (although, don’t get me wrong, I quite enjoy the Ocean’s franchise). Its plot is fun and twisty and quite fitting as it is, but it is mostly its flair that really gets me going, much like Rachel Weisz’s Penelope with that weird drunken montage with the train and the moans. Like Brick, The Brothers Bloom oozes with style and an air that the characters are not your everyday kind of people, but clearly something beyond the norm, people who will do these fantastic crazy things provided for them. I can’t wait for Rian Johnson’s third film.
#10 Bright Star
I have a mixed record with period romance types of films. I can be a sucker for them without really liking them, but there are some genuinely great ones, such as Sense and Sensibility, and, in this case, Bright Star. Featuring a romance that is sweet, real, and yet very untouchable, Bright Star isn’t obsessed either with chastity or bodice-ripping, something period romances tend to fall into traps with, but rather providing us with an intimate and sweet story. Jane Campion’s directing of Bright Star is among some of the most underappreciated of the year to me, and Bright Star also features stunning cinematography as well as art direction, costuming, and etc. It is one of the most visually beautiful films I saw this past year, watching with my eyes round as saucers as Fanny sat on her bed and the curtain blew in at her, sunlight streaking through, giving the movie an other-worldly feel, but not removing any connection I could feel. The acting was brilliant and it’s sad to have seen Abbie Cornish’s praise diminished nearly as soon as it had begun, but the work by Ben Whishaw and Paul Schneider especially was also very good, very moving, but nothing that felt forced or wrong. I expected to be a bit bored by the movie, not really involved, as when I went in, all I had heard was that Abbie Cornish was great in it. But I was surprisingly pleased when the whole movie fell so well with me. One of my favourite romances of the year, Bright Star is much more than that, showcasing a beautiful relationship much more than simply the romantic parts of it.
#9 Up in the Air
Up in the Air was a great ride to me, but, like An Education, some of the twists and turns I didn’t want to go down, particularly concerning the resolution of Ryan and Alex’s relationship. But all three leading actors were magnificent, getting the chance to see Clooney as more than just the self-assured man he was, but also as someone genuinely lost, Farmiga taking a character I normally wouldn’t be able to like but managing to, and Anna Kendrick pleasing me beyond all measure as, if not for Mo’Nique in Precious, the best supporting actress I’d seen all year. The story’s background, which Jason Reitman brought to great attention, was best described by some short silent moments, like Natalie in the empty room full of chairs, she and Ryan arriving in a cleared out building with a few terrified employees left for them to dispose of in Detroit, and, of course, the memorable scene of Natalie firing a man by video who is only in the next room. The movie is torn between the characters and the overarching theme, which don’t necessarily match up so easily, but finds a good balance and managed to strike a strong emotional chord with me.
#8 A Serious Man
I had some weird unknown beef with this film about the lack of ending that is so like the Coen brothers and so unpleasant for me about a movie supposedly based roughly off of The Book of Job which I had read earlier in the year for a class entitled Narratives of Suffering, which was a wonderful class that made me strongly appreciate different facets of storytelling that I hadn’t grasped previously. And if A Serious Man was not supposed to be based off of The Book of Job, I wouldn’t have any complaints… but The Book of Job is extremely important for its bizarrely happy ending, in which Job goes back to life with tenfold what he had before, not potentially dying or with his children facing an ominous and symbolic tornado. Ending aside, the movie itself is a great work by the Coen brothers, featuring a great turn by Michael Stuhlbarg and a good supporting cast (Stuhlbarg is on my ideal Oscar ballot for Best Actor and that ballot was one of the hardest for me), and the rest of the story struck me so strongly, as I spent the whole semester looking through fifteen different texts, trying to find the meaning of suffering, just as Larry does in A Serious Man, so I could sympathize with his journey, and I understood when he was forced to simply go back to life and ignore the questions (so like Job, until the extra couple minutes at the very end). I think my frustration simply comes from a place of great investment in the film, where Larry too feels such frustration and can understand it as easily as I do.
#7 Inglourious Basterds
I’ve been a fan of Quentin Tarantino’s work for, well, not a long time since I only really began dedicating myself so heavily to movies a couple of years ago, but about since that began. I’ve missed a few of his features (Jackie Brown and Grindhouse/Death Proof), but both Kill Bill movies and certainly Pulp Fiction would end up being some of my personal favourite movies. Inglourious Basterds has been lauded by many as perhaps his best film and, while I’m not sure I agree, I certainly do believe that it is a fantastic film unto itself. There was nothing more satisfying in cinema this past year than seeing history turned on its head with such appropriate irreverence. There was no performance as electrifying as Christoph Waltz’s all year. Not to mention the cast at large being great and Tarantino’s script being a fun masterpiece all on its own. The very cool film references to the time, which were fun (I had two classes last year where we talked at least a little bit about Goebbels, one of which was my documentary class with, of course, a section on propaganda, most famously on Triumph of the Will and other such projects of the WWII era). Regardless of my attachment to the littler parts of the film, there is such unpredictability when it comes to Tarantino’s works. Many films, you see a formula at work and you know what’s coming, who will survive, who will die, but when it comes to Tarantino, I’m not sure if he’s going to kill nobody, everybody, or some number in-between. There’s a whole different kind of suspense at work in Inglourious Basterds than can be found in other, more grim features such as The Hurt Locker, but this suspense isn’t nail-biting, it’s fun.
#6 Avatar
I know that there are a lot of people out there who are vehemently against Avatar, or who want to see it fail because of its populist image, or who simply just didn’t like it all too much or find it too reliant on the CGI and not enough on being original. And, as I tell most Avatar-haters, far too few “original” films have ever been made. But that is hardly a problem to me. Because one of the best things about Avatar is the familiar epic touch it has, unafraid to attempt a new language, a new species, a new world, all in the name of creating something truly escapist and enjoyable. Normally, I scoff a little when people say that they go to the movies to escape (which is a normal reaction, but movies are much more than that to me), but Avatar really was an escape, 160 minutes on Pandora, somewhere I want to return to and explore more and more of. Yes, the CGI is brilliant and there have been better scripts this year, but I hardly think that the script suffers because of too much emphasis on the CGI, or that the script suffers at all. There was no cheesy dialogue that made me cringe, nothing that made me roll my eyes or groan in disbelief. Everything was fitting and right and, well, it is certainly quotable (I have said “You’re not the only one with a gun, bitch” several times since I first saw it, actually, as, although hardly poetic, it is a great line). I see no reason to nitpick at Avatar, to complain about its similarities to other (mostly great) films, to make jokes about the Na’vi being smurfs or cat people, because it’s stupid to reduce such an epic to something so base (something I was responsible for doing to the Harry Potter book series before giving it a chance, reading it, and unabashedly loving it). Avatar is not the best film made this year, but it is one of the most enjoyable, stunning, and engrossing. It stole me away in a manner few other films managed to this year, and I cannot ignore the longing I feel within me to keep going back, to want more of Pandora, more of this new world. As cheesy as this sounds, far more cheesy than anything from Avatar, my heart is what assures me that I loved that movie. And, honestly, if your heart isn’t in a movie, if you can’t feel it tugging at you, then there’s no legitimate connection.
#5 Star Trek
Raised on Star Wars as opposed to Star Trek, I’d never had an interest in the franchise, and since I saw the new Star Trek movie, I tried my hand a bit at some of the older fare, two of the movies (Voyage Home and Wrath of Khan) and a few minutes of one of the original series episodes and I realized that no, the reason I like the new Star Trek movie has nothing to do with the source material and everything to do with it being, on its own, a fantastic ride. Star Trek features a fantastic cast, which is one reason it originally caught my attention. Led by the before-unknown (although I’d had a celebrity crush on him since The Princess Diaries 2) Chris Pine as the fantastically cocky and amazing Captain Kirk, and Sylar’s Zachary Quinto proving that his brilliance as Sylar (even as Heroes fell further and further into suckage) was only the tip of the acting iceberg. The supporting cast was also built up with two-time sci-fi stars this year Anton Yelchin (one of my favourite parts of Terminator Salvation) and Zoe Saldana (in that little film a lot of other people saw called Avatar), Eomer’s Karl Urban, Brit Simon Pegg, Harold and Kumar’s John Cho, and Eric Bana in a limited, but strong, villainous role. All of the supporting cast, although faced with generally limited screen time, made the most of their appearances on camera. Star Trek also featured probably my second favourite opening sequence of this year (the first being Up’s story of Carl and Ellie): the brilliant space battle where George Kirk died and James Kirk was born. Upon second viewing, this opening nearly brought me to tears it was so grand. I’d really like to give some credit to Star Trek’s great score here too. Beyond the opening, Star Trek didn’t waste any time. It told a good story, strong, but nothing spectacular, and introduced familiar characters (well, to other people) in a way that someone a Star Trek newbie like me could understand and appreciate them without thinking that too much is being thrown in at once. I’m a sucker for quality space operas, and Star Trek is, at the heart, exactly that. The film is stunning in every manner and has a humour without selling itself short, without resulting in the camp I later saw in the original version. Star Trek is one of the most delightfully and simply enjoyable movies I saw this year, not the smartest but smart, not the best but excellent, and not the wildest but incredibly entertaining.
#4 The Damned United
The Damned United is probably the best sports movie I have ever seen, and my prior knowledge of British football is that my friends all tend to be Manchester United fans and that Chelsea supposedly sucks and we Americans have David Beckham now. I went into the movie, fearing that I might be confused or lost, but that was hardly true. The Damned United was extremely accessible and highly gratifying. Not to mention that it contained one of my favourite bromances of all time, led by two talented actors, Michael Sheen and Timothy Spall. I hate that Michael Sheen will once again not be recognized for his masterful work here, and that Timothy Spall has been equally ignored, but I feel extremely privileged to have gotten the chance to watch the film and fall in love with it. It felt so good, watching Brian Clough and Peter Taylor kick ass and move up the ranks in the sport they clearly have a talent for working at. Not a moment is wasted and there is nothing in the film that bothered me in the least. Michael Sheen played Clough with impeccable talent, making a man that we root passionately for and yet don’t groan too loudly in frustration when he makes a stupid mistake, and then cheer for as he grows up and learns his place and begs for his dearest and best friend back on his knees (an amazing, amazing moment). It is such a flawless portrait of a man and his ambition and arrogance, but also his care and love and understandable determination. Not to mention that the sports part is very entertaining, something that doesn’t always catch my eye in a film (or in sports in general, as they tend to bore me).
#3 District 9
It’s been a little while since I went to Johannesburg with Sharlto Copley and the aliens derogatorily called the “prawns,” but I remember how satisfied and pleased I was with the movie. One of my biggest upsets with the awards season thus far is, not only the lackluster love for the movie, but also the total neglect for its heart and soul, no matter how blackened that heart seems at time, Sharlto Copley as perhaps my favourite lead performance of the year: Wikus. Wikus is ordinary and boring and he doesn’t transform into the hero in the end, doesn’t undergo some miraculous personality shift and change his allegiance because of deep love the way Jake Sully does in Avatar. Rather, Wikus distrusts his new allies to the end, wants more than anything to be human again, although he clearly has come to understand the hardships of the imprisoned aliens in the process. The effects and technology of the movie boast of a gigantic budget the film never had and never needed, giving us proof that while some movies like Avatar can prove that their big budget was worth it, you don’t need such a budget to make a sci-fi epic. With its excellent story straight out of reality, showcasing any instance of segregation (most notably Apartheid, of course), District 9 moves to become more than a sob story of a repressed race and doesn’t come around to have the natives win at life, but gives us a real portrayal of a struggle and the slow resolution that comes with real stories. There’s nothing I dislike about District 9, and it makes me confident in the ability of unknown filmmakers to provide us with a stunning vision where the movie doesn’t need stars, big names, or lots of money to get the story out… and make a great deal of money while at it. Paranormal Activity might be the low budget film story of the year, and I haven’t seen it, but District 9 is all the more impressive for the scale it dishes out, the epic quality of it, without trying too hard or selling out.
#2 The Hurt Locker
The most recent of the films I have watched, it reminded me of something a few of my friends complained about when watching The Dark Knight, about how the movie felt like it was always at a climax, building and building and building. That was one of my favourite things about The Dark Knight and the constant intensity and anything-can-happen spirit of The Hurt Locker made it instantly shoot to the near-top of my list of my favourite movies of the past year. I skimmed the Wikipedia article just now and was pleased and impressed to see how influenced the film was by Kathryn Bigelow’s excellent vision, even when talking about something that to passer-by fans is totally useless, like the type of stock used, Bigelow amazes me; I’ve used 16mm film and it doesn’t look anything near the artistic mastery shown in her piece (granted, she used Super 16, but regardless, they’re ultimately quite similar in my humble, barely educated opinion). The cast itself is stunning and it was a nice surprise to see beyond the amazing three leads some familiar faces; I kept arguing with myself “That’s Ralph Fiennes! Is that possible? Could it be?” and he’s barely in the movie, but even characters like his that only appear for short bursts are excellently portrayed. You can see writer Mike Boal’s experiences and trust in them to show such a stunning and engrossing adaptation of the real events of the War in Iraq (though, technically, as my documentary film professor reminded me, war was never officially proclaimed, but let’s not get into technicalities like this just now). The focus on the bomb squad, specifically on that 38 day rotation we saw them through, made the movie so much better than it could have been if it had tried to be any of the other sappy, dramatic epics trying to capture the whole thing. I’ll be sad to see the supporting cast, Anthony Mackie and Brian Geraghty, not get the attention they deserve, but awards season is always tough. I do hope that The Hurt Locker pulls out to be the winner. I know some audiences don’t like it when the little unknown wins (well, that is, if it didn’t make as much money as Slumdog Millionaire, Little Miss Sunshine, or Juno, which I’d reckon a guess The Hurt Locker hasn’t), but The Hurt Locker is definitely the more masterfully made movie over its main competitor, Avatar (although it is also on my list of favourite movies this past year). All in all, I will stop weighing its awards chances and leave it at this: I am so glad I got the chance to rush into danger along with The Hurt Locker, feeling the experience very strongly, and although not wanting to go back to Iraq like one would want to go back to Pandora, understanding the other-worldliness and relishing it nonetheless.
#1 Up
There were a lot of good films this year that I saw and that I didn’t see, but Pixar has a habit of stealing my heart, ever since I first saw Toy Story when I was only just learning to spell. I first saw Up at the drive-in with my friend, her boyfriend, and her mom, and so I put a lot of effort into not crying during the movie. Then, a couple weeks later, after being in a horrible mood all evening, I rushed out at night and went to see Up and cried several times, feeling wonderful the whole time. Up is a beautiful portrait of, excuse my sort-of lifting of The Lovely Bones’ tagline but, a beautiful marriage and everything that came after. As many have said before me and many will say after, the first ten-odd minutes of the movie are enough to prove the movie’s excellence, much like people said of WALL-E’s opening half an hour. But then, the movie goes on past Ellie’s death and proves to us, like Pixar is so skilled at doing, that although the introduction is a story onto itself, stories are vaster and more grand than even the span of seventy years in the life of Carl Fredricksen. And those seventy years, illustrated in mere minutes, seemingly insignificant to the rest of the film, were everything and represented more than any words could ever say. When I first showed my mother the film recently after acquiring it on DVD, she saw Carl, older, alone, walk past the empty “Paradise Falls” coin collector and sighed, “It’s so easy to forget your dreams.” But I glanced over at her and told her to keep watching the movie, because as the movie teaches us, Carl’s life wasn’t one into which he settled and was deprived of the adventure he wanted when he was young, nor was Ellie’s – they both lived full and wonderful lives of strong love between them, many years of affection and care that are impossible to count out. The rest of the movie, beyond Carl and Ellie’s story, is a wonderful example of the adventure that Carl had wanted, but never needed, but it did allow him to appreciate, as Russel mentions, “the little things,” like eating ice cream on a curb, playing pointless, silly games, and so on. Dug too, although I was initially wary of having talking dogs (especially talking dogs that fly fighter planes), plays a beautiful role in the education of Carl, especially when complemented by the separate, but equally heart-warming, short film “Dug’s Special Mission.” Up is visually beautiful, the score is extremely fitting and one of my favourites of the year, but its story is, unsurprisingly, its best element. I will never tire of the masterpieces Pixar manages to churn out.
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FULL LIST:
#1 Up
#2 The Hurt Locker
#3 District 9
#4 The Damned United
#5 Star Trek
#6 Avatar
#7 Inglourious Basterds
#8 A Serious Man
#9 Up in the Air
#10 Bright Star
#11 The Brothers Bloom
#12 (500) Days of Summer
#13 Adventureland
#14 An Education
#15 I Love You, Man
#16 Duplicity
And as a special treat, I’m taking the People’s Choice Awards categories (because it’s funny) and naming my favourites:
Favourite Movie Actor: Sharlto Copley
Favourite Movie Actress: Meryl Streep
Favourite Action Star: Jeremy Renner*
Favourite Breakout Movie Actor: Sharlto Copley
Favourite Breakout Movie Actress: Anna Kendrick
Favourite On-Screen Team: Michael Sheen and Timothy Spall
Favourite Independent Movie: District 9 or The Hurt Locker
Favourite Comedy Movie: I Love You, Man
Favourite Movie: Up
*Because his character’s attitude to defusing bombs is totally that of an action star.
---
Disclaimer of movies I've missed:
I haven’t seen several movies I might enjoy as much if not more, or at least want to see, including, but perhaps not limited to: Nine, Zombieland, A Single Man, The Lovely Bones, Crazy Heart, The Road, Bad Lieutenant, Broken Embraces, The White Ribbon, The Beaches of Agnes, Good Hair, The Cove, Food Inc., Every Little Step, Anvil! The Story of Anvil, A Prophet, The Messenger, The Maid, Whip It, Capitalism: A Love Story, Ponyo, Cloudy with a Chance of Meatballs, In the Loop, and Moon.
Saturday, December 19, 2009
I saw it. Avatar.
I'm not going to blab on particularly long about Avatar because, well, I don't have that much to say. It was, to be frank, quite awesome. I really enjoyed it. Some people complained beforehand about the story being trite and thin and the dialogue being rather meh, but it hardly distracted me. It was hardly Shakespeare, but when it comes to sci-fi epics, I mean, how simple are the Star Wars lines that are endlessly quoted?
"May the Force be with you."
"My name is Luke Skywalker, I'm here to rescue you."
"I love you." "I know."
"No, I am your father."
None of these are exactly poetry either, but they are all incredibly awesome lines, particularly Harrison Ford's improvised ESB line pre-carbon freeze. So I see nothing to complain about with Avatar. Beside that, it is an EPIC. And by epic, I mean that the plot is going to be somewhat traditional in many ways, and that's nothing to guffaw at. Storytelling-wise, there's nothing revolutionary about the movie. The special effects are fucking amazing, of course, but the story itself is what it is supposed to be - strong, powerful, striking, and good. But not revolutionary.
But on the special effects, can I say how fucking amazing they are again? And it's not just the Na'vi, which were done very well, but also simply all alien life on Pandora. Every creature, all the flora, the whole thing was just so beautiful and, for lack of better word, exotic. It felt like I was truly transported to this location, which is what the best sci-fi and fantasy epics do. I have the same feeling with Star Wars, Lord of the Rings, and to bring in video games, the sci-fi epic I am partial to: Mass Effect. These are spectacular worlds that tell amazing but traditionally-based stories. I am happy to see Avatar and look at it as a new classic. Although the special effects will soon enough be commonplace and not long after become outdated, the epic nature of the beast will keep it around for a long time.
It's not the special effects that made Star Wars or Lord of the Rings as awesome as they are, and it's not that they told a wildly original story - they simply brought us into this new world and captivated us with a beautiful story and a well-thought out and captivating world.
In fact, I want to return to Pandora really soon, and I hope that, if good sequels can be imagined, that there will be sequels. But only if they can be good (take a cue from Pixar; even though Toy Story 3 is eleven years after Toy Story 2, it's because they were waiting for a good story and I have few doubts that Toy Story 3 won't deliver the goods. Toy Story 2 did). We have enough bad sequels in the world. Other than that, I look forward to seeing Avatar again. I might dare to do it again in theatres if I find time between all the other movies, but probably not. I will see it again. And hopefully love it just as much. Because it truly is a GREAT film in both content and era. While maybe not the best film I've seen of this year or my favorite (and I am still lacking several, so we'll see what happens), I have a feeling that this movie will last.
I think I read somewhere that James Cameron doesn't see this film to be as timeless as Titanic, but I have a feeling it'll prove otherwise. For example, over thirty years later, everyone still knows what Star Wars is. Even if the damned fools haven't seen it.
Don't worry, I'm fixing that. Bard Film Committee is doing a Star Wars weekend next semester. A New Hope and Empire Strikes Back. I am FORCING all my WEIRD friends who haven't seen Star Wars to come. I just don't understand. It's such an amazing classic.
One of my favourite things about future!motherhood (y'know, in ten years or so is what I'm aiming for) is going to be sharing my childhood experiences with my kids. The Pixar films, Star Wars, Lord of the Rings, Harry Potter. And you know what? They're seeing Avatar too. And a shitload of other movies. 'Cause, well, if you know anything about me, I effing love movies. My kids better too.
PS: Let me make this very clear. Yes, I think Sam Worthington is a hunk. Yes, I think he was amazing in Terminator Salvation (as was Anton Yelchin. Sorry, Christian Bale, you're normally great but you really blew in that movie). Yes, I am going to start seeing movies probably explicitly because he is in them. No, Anton Yelchin is still my future husband.
PPS: I am attempting to do a double feature tomorrow of Fantastic Mr. Fox and An Education. Wish me luck! Hope it doesn't snow TOO much.
"May the Force be with you."
"My name is Luke Skywalker, I'm here to rescue you."
"I love you." "I know."
"No, I am your father."
None of these are exactly poetry either, but they are all incredibly awesome lines, particularly Harrison Ford's improvised ESB line pre-carbon freeze. So I see nothing to complain about with Avatar. Beside that, it is an EPIC. And by epic, I mean that the plot is going to be somewhat traditional in many ways, and that's nothing to guffaw at. Storytelling-wise, there's nothing revolutionary about the movie. The special effects are fucking amazing, of course, but the story itself is what it is supposed to be - strong, powerful, striking, and good. But not revolutionary.
But on the special effects, can I say how fucking amazing they are again? And it's not just the Na'vi, which were done very well, but also simply all alien life on Pandora. Every creature, all the flora, the whole thing was just so beautiful and, for lack of better word, exotic. It felt like I was truly transported to this location, which is what the best sci-fi and fantasy epics do. I have the same feeling with Star Wars, Lord of the Rings, and to bring in video games, the sci-fi epic I am partial to: Mass Effect. These are spectacular worlds that tell amazing but traditionally-based stories. I am happy to see Avatar and look at it as a new classic. Although the special effects will soon enough be commonplace and not long after become outdated, the epic nature of the beast will keep it around for a long time.
It's not the special effects that made Star Wars or Lord of the Rings as awesome as they are, and it's not that they told a wildly original story - they simply brought us into this new world and captivated us with a beautiful story and a well-thought out and captivating world.
In fact, I want to return to Pandora really soon, and I hope that, if good sequels can be imagined, that there will be sequels. But only if they can be good (take a cue from Pixar; even though Toy Story 3 is eleven years after Toy Story 2, it's because they were waiting for a good story and I have few doubts that Toy Story 3 won't deliver the goods. Toy Story 2 did). We have enough bad sequels in the world. Other than that, I look forward to seeing Avatar again. I might dare to do it again in theatres if I find time between all the other movies, but probably not. I will see it again. And hopefully love it just as much. Because it truly is a GREAT film in both content and era. While maybe not the best film I've seen of this year or my favorite (and I am still lacking several, so we'll see what happens), I have a feeling that this movie will last.
I think I read somewhere that James Cameron doesn't see this film to be as timeless as Titanic, but I have a feeling it'll prove otherwise. For example, over thirty years later, everyone still knows what Star Wars is. Even if the damned fools haven't seen it.
Don't worry, I'm fixing that. Bard Film Committee is doing a Star Wars weekend next semester. A New Hope and Empire Strikes Back. I am FORCING all my WEIRD friends who haven't seen Star Wars to come. I just don't understand. It's such an amazing classic.
One of my favourite things about future!motherhood (y'know, in ten years or so is what I'm aiming for) is going to be sharing my childhood experiences with my kids. The Pixar films, Star Wars, Lord of the Rings, Harry Potter. And you know what? They're seeing Avatar too. And a shitload of other movies. 'Cause, well, if you know anything about me, I effing love movies. My kids better too.
PS: Let me make this very clear. Yes, I think Sam Worthington is a hunk. Yes, I think he was amazing in Terminator Salvation (as was Anton Yelchin. Sorry, Christian Bale, you're normally great but you really blew in that movie). Yes, I am going to start seeing movies probably explicitly because he is in them. No, Anton Yelchin is still my future husband.
PPS: I am attempting to do a double feature tomorrow of Fantastic Mr. Fox and An Education. Wish me luck! Hope it doesn't snow TOO much.
Sunday, November 1, 2009
I Hate Feeling So Behind Even Though There Is Still So Much To Arrive...
Being a full time student + part time employee + college students who enjoys socializing in her spare time when she isn't doing a shitload of homework = less time to see movies. As it is, I am far behind both on Oscar movies and regular enjoyment movies (helloooo, Zombieland). I haven't been to the theatre in nearly three weeks when I saw a few new films, including Bright Star. So there have been movies I have missed and hopefully they will remain in theatres until next weekend when I take a short detour home for a couple days to catch up on TV, movies, and good food.
Movies I Would Like To See This Month: Where the Wild Things Are, Zombieland, Good Hair, An Education, The Road, The Damned United, A Serious Man.
The Road and An Education come out in time for Thanksgiving break, while I'm going to have to hurry up to see Zombieland and Where the Wild Things Are before they disappear from theatres. I'd also like to see Clive Owen in The Boys Are Back, but, come on, I'm already assigning myself the task of seeing 7 movies during a three day weekend plus a four and a half day break, which also involves crossing the state to visit family for half of that.
But winter break will be a lot more interesting. The past two winters have seen me watch movies like a crazy woman between Netflix and the theatre. It is quite a bit of fun to see me and try to equate to yourself how many movie tickets I buy each year. Next to food, it's probably my biggest outlet for spending money. And this doesn't include the scenarios where I ask my friends to go with me, they say they don't have the money, and I just pay for them because I've already seen like 5 movies by myself that season.
Which leads me to the hard part about these two short breaks: I'm not going home alone. My roommate has decided that she wants to tag along next weekend (but I can just drop her off at Paranormal Activity, which she really wants to see), and then another of my friends, who, as an international student, lives across the world, isn't going home for Thanksgiving break, will be accompanying me then. But this will happen! I must see these movies. Not only do I really have a vested interest in seeing them and, as a film student, I should be watching lots and lots of movies, but I am a NERD when it comes to awards season. For reals, yo.
And we're not even into the major season yet. Like I said, I'll have more time come winter break (approx. six weeks of laziness... and a day or two of meeting my brother's Brazilian girlfriend), but there will also be more movies. Invictus. Nine. The Lovely Bones. Sherlock Holmes. Precious. Avatar. Up in the Air. Any other of a host of last minute surprises and things that suddenly occur to me "oh hey, that looks awesome, I should see that." Not to mention the netflixing of movies I missed earlier, like The Hurt Locker. But anyways, the more I think about this, the crazier I go, and I can't go crazy just yet; still got a month and a half left of classes. Blegh on that. I would much rather just watch movies.
I did finally see Waltz with Bashir (one year later). How that did not win Best Foreign Film is beyond me.
On another note, considering how The Road is being reacted to so far, maybe I was too quick in my judgment to assume that it could never match up to the book. I have become more interested in seeing it as of late. Viggo Mortensen looks like he gives a fantastic performance (I was close to saying that he looks fantastic, but he doesn't, which is the point), and so I will go see The Road when it comes out. So color me excited (in a minimal way).
Movies I Would Like To See This Month: Where the Wild Things Are, Zombieland, Good Hair, An Education, The Road, The Damned United, A Serious Man.
The Road and An Education come out in time for Thanksgiving break, while I'm going to have to hurry up to see Zombieland and Where the Wild Things Are before they disappear from theatres. I'd also like to see Clive Owen in The Boys Are Back, but, come on, I'm already assigning myself the task of seeing 7 movies during a three day weekend plus a four and a half day break, which also involves crossing the state to visit family for half of that.
But winter break will be a lot more interesting. The past two winters have seen me watch movies like a crazy woman between Netflix and the theatre. It is quite a bit of fun to see me and try to equate to yourself how many movie tickets I buy each year. Next to food, it's probably my biggest outlet for spending money. And this doesn't include the scenarios where I ask my friends to go with me, they say they don't have the money, and I just pay for them because I've already seen like 5 movies by myself that season.
Which leads me to the hard part about these two short breaks: I'm not going home alone. My roommate has decided that she wants to tag along next weekend (but I can just drop her off at Paranormal Activity, which she really wants to see), and then another of my friends, who, as an international student, lives across the world, isn't going home for Thanksgiving break, will be accompanying me then. But this will happen! I must see these movies. Not only do I really have a vested interest in seeing them and, as a film student, I should be watching lots and lots of movies, but I am a NERD when it comes to awards season. For reals, yo.
And we're not even into the major season yet. Like I said, I'll have more time come winter break (approx. six weeks of laziness... and a day or two of meeting my brother's Brazilian girlfriend), but there will also be more movies. Invictus. Nine. The Lovely Bones. Sherlock Holmes. Precious. Avatar. Up in the Air. Any other of a host of last minute surprises and things that suddenly occur to me "oh hey, that looks awesome, I should see that." Not to mention the netflixing of movies I missed earlier, like The Hurt Locker. But anyways, the more I think about this, the crazier I go, and I can't go crazy just yet; still got a month and a half left of classes. Blegh on that. I would much rather just watch movies.
I did finally see Waltz with Bashir (one year later). How that did not win Best Foreign Film is beyond me.
On another note, considering how The Road is being reacted to so far, maybe I was too quick in my judgment to assume that it could never match up to the book. I have become more interested in seeing it as of late. Viggo Mortensen looks like he gives a fantastic performance (I was close to saying that he looks fantastic, but he doesn't, which is the point), and so I will go see The Road when it comes out. So color me excited (in a minimal way).
Thursday, July 9, 2009
Nine
Let us take a moment to note just how bitchin' Nine looks! I have not seen the musical, as I have seen very few musicals live, but I just watched the trailer for the upcoming movie three times and am still in love with how it looks like it will turn out. Just note that amazingly awesome international Oscar-winning cast (save two; one is a nominee and the other is Fergie). Daniel Day-Lewis amongst many women, such as Marion Cotillard, Penelope Cruz, Judi Dench, Kate Hudson, Sophia Lauren, Nicole Kidman, and Fergie, with FAB vocals over the trailer. The visuals are already stunning, and I just rewatched Chicago, so that this is being directed by the same guy, Rob Marshall, makes me enthusiastic (I had forgotten just how amazing the movie Chicago is).
I was lamenting over how few movies I was psyched for this coming fall season (also known as I Want An Oscar! season), but then I stumble into Nine, which I had heard about before but not ventured much into. But after seeing the trailer and obsessing over the cast... I'm excited.
And also, major props to Kate Hudson for doing a real movie again. It's been too long, Kate. Please, hang up the rom coms and do real movies. You were so good in Almost Famous! You're a past Oscar nominee! You deserve better. At least pick your rom coms better if you're going to do any.
And although I pay little to no attention to Fergie despite my respect for her as a good vocalist and performer (I just don't pay much attention on the music front), I am very excited to see her in Nine as well.
Last note: other movies this fall I'm excited for? Mostly Sherlock Holmes, which comes out on Christmas. Although Tim Burton-produced 9 looks very interesting and potentially good. I was almost excited for The Road since I started reading it and already really love it, but then I watched the preview and can't hide my displeasure at it looking rather mediocre. This is disappointing as Cormac McCarthy is a great author and No Country for Old Men was wicked good. Oh well. I'll just settle down and enjoy the book.
Final note, for reals: Where the fuck is the Academy going to find 10 Best Picture Nominees without any filler? BTWs, Academy, Star Trek and Up will be filler when you nominate them. They are both good, but we all know they have no chance of winning. The point of five nominees was that they all had a chance of winning... even if it is a slim to none chance like going up against Slumdog Millionaire. But my point is that if Slumdog Millionaire hadn't been the awards sweeper it was, the other four films would've had a chance (well, maybe not The Reader... but I'm still spiteful over the lack of The Dark Knight). I loved Up and really liked Star Trek, but let's not kid ourselves, unless every drama that comes out this year is total suck, neither of those films would ever win Best Picture.
So screw you Academy for another stupid decision. Oh and PLEASE bring back the clips. Seeing Tilda Swinton in another bag, Sophia Lauren with way too much makeup and boobage, and Whoopi Goldberg's unfortunate pattern choice talking about actors they may or may not know very well (which totally ruins it when one winner and nominee are paired perfectly and another are a total mismatch; completely unfair to the poor nominee that was mismatched!) is PAINFUL. I much prefer seeing the clips from movies that actually show us why these actors deserves an Oscar. Isn't that the point of movies? To be shown instead of told (something Public Enemies should have known better)?
And thus ends another longer-than-intended Sarah-rants/raves-about-movies segment.
Have a good night.
I was lamenting over how few movies I was psyched for this coming fall season (also known as I Want An Oscar! season), but then I stumble into Nine, which I had heard about before but not ventured much into. But after seeing the trailer and obsessing over the cast... I'm excited.
And also, major props to Kate Hudson for doing a real movie again. It's been too long, Kate. Please, hang up the rom coms and do real movies. You were so good in Almost Famous! You're a past Oscar nominee! You deserve better. At least pick your rom coms better if you're going to do any.
And although I pay little to no attention to Fergie despite my respect for her as a good vocalist and performer (I just don't pay much attention on the music front), I am very excited to see her in Nine as well.
Last note: other movies this fall I'm excited for? Mostly Sherlock Holmes, which comes out on Christmas. Although Tim Burton-produced 9 looks very interesting and potentially good. I was almost excited for The Road since I started reading it and already really love it, but then I watched the preview and can't hide my displeasure at it looking rather mediocre. This is disappointing as Cormac McCarthy is a great author and No Country for Old Men was wicked good. Oh well. I'll just settle down and enjoy the book.
Final note, for reals: Where the fuck is the Academy going to find 10 Best Picture Nominees without any filler? BTWs, Academy, Star Trek and Up will be filler when you nominate them. They are both good, but we all know they have no chance of winning. The point of five nominees was that they all had a chance of winning... even if it is a slim to none chance like going up against Slumdog Millionaire. But my point is that if Slumdog Millionaire hadn't been the awards sweeper it was, the other four films would've had a chance (well, maybe not The Reader... but I'm still spiteful over the lack of The Dark Knight). I loved Up and really liked Star Trek, but let's not kid ourselves, unless every drama that comes out this year is total suck, neither of those films would ever win Best Picture.
So screw you Academy for another stupid decision. Oh and PLEASE bring back the clips. Seeing Tilda Swinton in another bag, Sophia Lauren with way too much makeup and boobage, and Whoopi Goldberg's unfortunate pattern choice talking about actors they may or may not know very well (which totally ruins it when one winner and nominee are paired perfectly and another are a total mismatch; completely unfair to the poor nominee that was mismatched!) is PAINFUL. I much prefer seeing the clips from movies that actually show us why these actors deserves an Oscar. Isn't that the point of movies? To be shown instead of told (something Public Enemies should have known better)?
And thus ends another longer-than-intended Sarah-rants/raves-about-movies segment.
Have a good night.
Stealing From My Livejournal Part XXXII
As I use my livejournal for little else except for movie rants and decided to switch over here, I thought I'd recruit some older posts so as to show a history. I'll bother with new ones as they come to me.
From June 30, 2009:
"I saw Up again. I cried at least on three, maybe four, occasions. Although it's not my favourite Pixar films because, as good as it is, it's no WALL-E/Toy Story, it definitely got to me more than probably any of those other films ever has. I mean, I cry during most movies I see, or at least tear up, if I like them at all, but I don't usually cry more than once or twice. Kudos, Up!
Speaking of movies, let me count how many people want to go see Public Enemies with me. Hmm... seven off of the top of my head. This will be interesting to actually make happen. BUT I AM PSYCHED. I am way excited to see that movie.
I was thinking yesterday, as I fled the house and my dramatically upset pissiness, about why I love movies, and I realize that it's for the same reasons as everyone else, really. I went to go see Up to escape my life, to thoroughly enjoy a good-looking, well-written story, and that's really why I see all movies, even the prestigious ones, even the bad ones, even the BAMF ones - I see them because I love getting lost in movies.
It's also really sad to think about too because there is this deep love I have for movies that is just so different than love I have for anything, or anyone, else. And when I'm not experiencing that, it's hard for me. It's like I suffer from withdrawal (isn't this just a wee bit pathetic when you think about it?). I have to see movies, and I particularly enjoy seeing new, amazing movies.
I admit, I am deeply upset that there is nothing like The Dark Knight coming soon to theatres. I was so excited for that movie and it was just so unbelievably amazingly awesome on so many levels (it satisfied my childhood Batman-fanatic geek, my Heath Ledger-loving soul, my Morgan-Freeman-Is-The-Awesomest-Badass-Ever side, my action-adventure love, my Deep-Yet-Not-Pretentious-Storyline obsession, and my fangirl like obsession with awesome filmmaking - the soundtrack! the editing! the cinematography! the sets!) and there isn't a movie quite like that this summer. Granted, I am hyping for Public Enemies like there is no tomorrow, but I know it won't be the same.
Regardless, I love movies, if you all didn't already know.
I rented a bunch recently. I watched The Forbidden Kingdom the other day and I liked it a lot. I remember the previews for it and I thought it looked wicked cool but I never got to see it in theatres (I admit, I was pushing for it on senior skip day, but nobody really cared and Liz was all like "NARNIA! NARNIA!" ...at least Ben Barnes is hot...) and I got to see it now and it was very cool. I'm returning to my action-adventure love, I think, especially since I also watched Hero today. It started with the English dub and I was like "uh, no" and went to setup to change it back to Mandarin.
Hero was awesome. It felt so Rashomon in the story-telling style, but with the action flair of the best martial arts films ever. And I loved Tony Leung in that movie. Everyone was great, but he always stands out to me when I see him (i.e. 2046, Infernal Affairs) for whatever reason. The art direction was fabulous, and although the moral of the story, the stance it takes, has a really frightening political meaning, there's a part of me that agrees with the idea that sometimes we do have to make sacrifices to have peace. Of course, this depends on the peace, and we don't want something like the third ending of Jade Empire (aka: totalitarianism and militaristically forced peace) to hold true, but fighting gets tiresome and not all battles are worth fighting.
Anyway, enough of my rambling. I just thought I'd share my latest film feelings since, as I said, there is this inexplicable relationship between me and the movies, a bond that I feel so strongly, and that allows me to bore everyone with extensive movie-chatter.
But I hope y'all love me anyway.
Peace (the good sort)."
From June 30, 2009:
"I saw Up again. I cried at least on three, maybe four, occasions. Although it's not my favourite Pixar films because, as good as it is, it's no WALL-E/Toy Story, it definitely got to me more than probably any of those other films ever has. I mean, I cry during most movies I see, or at least tear up, if I like them at all, but I don't usually cry more than once or twice. Kudos, Up!
Speaking of movies, let me count how many people want to go see Public Enemies with me. Hmm... seven off of the top of my head. This will be interesting to actually make happen. BUT I AM PSYCHED. I am way excited to see that movie.
I was thinking yesterday, as I fled the house and my dramatically upset pissiness, about why I love movies, and I realize that it's for the same reasons as everyone else, really. I went to go see Up to escape my life, to thoroughly enjoy a good-looking, well-written story, and that's really why I see all movies, even the prestigious ones, even the bad ones, even the BAMF ones - I see them because I love getting lost in movies.
It's also really sad to think about too because there is this deep love I have for movies that is just so different than love I have for anything, or anyone, else. And when I'm not experiencing that, it's hard for me. It's like I suffer from withdrawal (isn't this just a wee bit pathetic when you think about it?). I have to see movies, and I particularly enjoy seeing new, amazing movies.
I admit, I am deeply upset that there is nothing like The Dark Knight coming soon to theatres. I was so excited for that movie and it was just so unbelievably amazingly awesome on so many levels (it satisfied my childhood Batman-fanatic geek, my Heath Ledger-loving soul, my Morgan-Freeman-Is-The-Awesomest-Badass-Ever side, my action-adventure love, my Deep-Yet-Not-Pretentious-Storyline obsession, and my fangirl like obsession with awesome filmmaking - the soundtrack! the editing! the cinematography! the sets!) and there isn't a movie quite like that this summer. Granted, I am hyping for Public Enemies like there is no tomorrow, but I know it won't be the same.
Regardless, I love movies, if you all didn't already know.
I rented a bunch recently. I watched The Forbidden Kingdom the other day and I liked it a lot. I remember the previews for it and I thought it looked wicked cool but I never got to see it in theatres (I admit, I was pushing for it on senior skip day, but nobody really cared and Liz was all like "NARNIA! NARNIA!" ...at least Ben Barnes is hot...) and I got to see it now and it was very cool. I'm returning to my action-adventure love, I think, especially since I also watched Hero today. It started with the English dub and I was like "uh, no" and went to setup to change it back to Mandarin.
Hero was awesome. It felt so Rashomon in the story-telling style, but with the action flair of the best martial arts films ever. And I loved Tony Leung in that movie. Everyone was great, but he always stands out to me when I see him (i.e. 2046, Infernal Affairs) for whatever reason. The art direction was fabulous, and although the moral of the story, the stance it takes, has a really frightening political meaning, there's a part of me that agrees with the idea that sometimes we do have to make sacrifices to have peace. Of course, this depends on the peace, and we don't want something like the third ending of Jade Empire (aka: totalitarianism and militaristically forced peace) to hold true, but fighting gets tiresome and not all battles are worth fighting.
Anyway, enough of my rambling. I just thought I'd share my latest film feelings since, as I said, there is this inexplicable relationship between me and the movies, a bond that I feel so strongly, and that allows me to bore everyone with extensive movie-chatter.
But I hope y'all love me anyway.
Peace (the good sort)."
Stealing From My Livejournal Part XXXI
As I use my livejournal for little else except for movie rants and decided to switch over here, I thought I'd recruit some older posts so as to show a history. I'll bother with new ones as they come to me.
From May 13, 2009:
"I think one of my favourite things about Entertainment Weekly's PopWatch blog is probably the tags. Sure, there are the ordinary tags like "American Idol 2009" and "The Biggest Loser" and whatever, but then there are the glorious tags such as "deals" (as in big deal, even though the rest of the world seems to have taken a cue from me and dropped the "big" part of that phrase... or maybe I'm just in tune with the world. WHO KNOWS?) and "Waiting" (doesn't it suck to get awesomely interesting information about upcoming projects and then... realize that the film/tv show/video game/book/etc. doesn't come out for weeks, months, or maybe even years?) and other more interesting tags such as "Things That Are Awesome!" and "Hello to the no!" and "I'm Just a Geek" and "The Bad Man Scares Me!" and "Cute Cat Videos!" (which was actually the subject of an entire post).
Did I mention that, aside from filmmaking, writing for Entertainment Weekly is essentially my dream job? Essentially, if I could just write about "and this is why Heroes was once awesome but now sucks" and about how I'll be very disappointed if Sherlock Holmes does not have a cocaine addiction in the upcoming movie mostly because a) the House wikipedia article told me he had one and b) because Guy Ritchie is directing it and therefore I expect some underworldly ongoings. I would also probably write about how I still have nightmares about Diablo Cody's get-up to the Oscars when she won for Juno but since she's a writer for EW I don't think they'd like that very much. And I need to work out a bit more before I can beat her in a fight.
So I totally think I have to start an entertainment themed blog this summer or else I'll die. Molly and Shellie and I will hopefully do it together because it won't work if I do it alone (how did "what claudia wore" get so popular anyway? I mean, it's wonderful, but many wonderful things remain undiscovered on the internet) and because Molly and Shellie are also wonderfully entertainment-friendly people with whom I hope to write many a review for the Bard Free Press next semester. :D
Anyway, I just thought I'd share my joy of EW's wonderful tags with you all. Also insert a couple flails over the House season finale (flailflailflail). Now to go back to reading about how violent video games are badbadbad."
From May 13, 2009:
"I think one of my favourite things about Entertainment Weekly's PopWatch blog is probably the tags. Sure, there are the ordinary tags like "American Idol 2009" and "The Biggest Loser" and whatever, but then there are the glorious tags such as "deals" (as in big deal, even though the rest of the world seems to have taken a cue from me and dropped the "big" part of that phrase... or maybe I'm just in tune with the world. WHO KNOWS?) and "Waiting" (doesn't it suck to get awesomely interesting information about upcoming projects and then... realize that the film/tv show/video game/book/etc. doesn't come out for weeks, months, or maybe even years?) and other more interesting tags such as "Things That Are Awesome!" and "Hello to the no!" and "I'm Just a Geek" and "The Bad Man Scares Me!" and "Cute Cat Videos!" (which was actually the subject of an entire post).
Did I mention that, aside from filmmaking, writing for Entertainment Weekly is essentially my dream job? Essentially, if I could just write about "and this is why Heroes was once awesome but now sucks" and about how I'll be very disappointed if Sherlock Holmes does not have a cocaine addiction in the upcoming movie mostly because a) the House wikipedia article told me he had one and b) because Guy Ritchie is directing it and therefore I expect some underworldly ongoings. I would also probably write about how I still have nightmares about Diablo Cody's get-up to the Oscars when she won for Juno but since she's a writer for EW I don't think they'd like that very much. And I need to work out a bit more before I can beat her in a fight.
So I totally think I have to start an entertainment themed blog this summer or else I'll die. Molly and Shellie and I will hopefully do it together because it won't work if I do it alone (how did "what claudia wore" get so popular anyway? I mean, it's wonderful, but many wonderful things remain undiscovered on the internet) and because Molly and Shellie are also wonderfully entertainment-friendly people with whom I hope to write many a review for the Bard Free Press next semester. :D
Anyway, I just thought I'd share my joy of EW's wonderful tags with you all. Also insert a couple flails over the House season finale (flailflailflail). Now to go back to reading about how violent video games are badbadbad."
Stealing From My Livejournal Part XXX
As I use my livejournal for little else except for movie rants and decided to switch over here, I thought I'd recruit some older posts so as to show a history. I'll bother with new ones as they come to me.
From April 28, 2009:
"It's over. I'm done. I FINISHED IT.
I don't think that I'm ever going to watch something like Battlestar Galactica ever again. I also don't think I've ever seen a better television show. And, Spoiler Alert!, I'm also incredibly upset that Lee and Kara never got the happy ending they deserved so much. I mean, seriously, despite everything else, there was always them. Even when they had their separate spouses, there was still something there. And once they didn't anymore, they deserved to be together. They deserved it so much. On the bright side, Gaius and Six got back together and Helo survived to be with Athena and Hera. Yes, I am so lame that I care so much about these pairings. But considering the need for the survival of the human race and the character bonds that formed over the show, this was necessarily deserved. I so totally cried when Roslin died, when Kara just vanished in mid-air. Kara's goodbye to Sam. Sam as the hybrid... it was unexpected but so fitting, really. But I'm not sure how I felt about the last ending so much. I mean, the first part "omg, the original Eve" and "omg, it's us!" was cool, but the robotics was a bit much...
Well, overall, this was the best viewing experience I've ever had, I think. I'm so sad to be done, to have nothing left to experience, nothing that's quite the same at least. There's The Plan and Caprica and Razor, but it's not the same. It's not exactly what I fell in love with during the past several weeks, just remnants that will allow me to feel closer to this experience. There was many imperfections, but so much that just worked, and in its entirety, BSG is very near-perfect.
I need to sleep because I'm feeling sick, but I just wanted to make clear what an experience it was to watch that television series. I highly recommend it to anyone who hasn't seen it, and to those that have, you can understand my strong feelings towards it. I am so glad I watched that series, so glad to have spent my time on it, and I look forward to rewatching it in the future. But it'll be like Cowboy Bebop, in a way. Also an amazing series... but knowing how it ends, and knowing that there are loose, unhappy ends involved, makes rewatching very hard despite the pleasure. Part of me never wants to watch it again, to just savour the experience.
We'll see when I actually have the time. I'll probably change my mind. But for now... I'm going to revel in the experience I've had. I'll worry about revisiting it later."
From April 28, 2009:
"It's over. I'm done. I FINISHED IT.
I don't think that I'm ever going to watch something like Battlestar Galactica ever again. I also don't think I've ever seen a better television show. And, Spoiler Alert!, I'm also incredibly upset that Lee and Kara never got the happy ending they deserved so much. I mean, seriously, despite everything else, there was always them. Even when they had their separate spouses, there was still something there. And once they didn't anymore, they deserved to be together. They deserved it so much. On the bright side, Gaius and Six got back together and Helo survived to be with Athena and Hera. Yes, I am so lame that I care so much about these pairings. But considering the need for the survival of the human race and the character bonds that formed over the show, this was necessarily deserved. I so totally cried when Roslin died, when Kara just vanished in mid-air. Kara's goodbye to Sam. Sam as the hybrid... it was unexpected but so fitting, really. But I'm not sure how I felt about the last ending so much. I mean, the first part "omg, the original Eve" and "omg, it's us!" was cool, but the robotics was a bit much...
Well, overall, this was the best viewing experience I've ever had, I think. I'm so sad to be done, to have nothing left to experience, nothing that's quite the same at least. There's The Plan and Caprica and Razor, but it's not the same. It's not exactly what I fell in love with during the past several weeks, just remnants that will allow me to feel closer to this experience. There was many imperfections, but so much that just worked, and in its entirety, BSG is very near-perfect.
I need to sleep because I'm feeling sick, but I just wanted to make clear what an experience it was to watch that television series. I highly recommend it to anyone who hasn't seen it, and to those that have, you can understand my strong feelings towards it. I am so glad I watched that series, so glad to have spent my time on it, and I look forward to rewatching it in the future. But it'll be like Cowboy Bebop, in a way. Also an amazing series... but knowing how it ends, and knowing that there are loose, unhappy ends involved, makes rewatching very hard despite the pleasure. Part of me never wants to watch it again, to just savour the experience.
We'll see when I actually have the time. I'll probably change my mind. But for now... I'm going to revel in the experience I've had. I'll worry about revisiting it later."
Stealing From My Livejournal Part XVI
As I use my livejournal for little else except for movie rants and decided to switch over here, I thought I'd recruit some older posts so as to show a history. I'll bother with new ones as they come to me.
From December 28, 2008:
"Two more films down.
The Curious Case of Benjamin, I saw on Friday. It was a good movie, no doubt about that, and I enjoyed it. I have to admit that I didn't get as into it as I am sure the minds behind the film wanted me to. A lot of movies strive to bring the audience into the lives of the people they portray, in fact, I think most movies try to grab audiences and bring them in, if not all. But I felt very disconnected from Benjamin Button. It was a good story to watch, but I was definitely watching everything. I was extremely conscious of my presence outside of the movie. It started off too slow for my tastes, taking too long with old!Brad Pitt before it got into the story, really. And although I loved the guy who told us all the ways he got struck by lightning (hilarious, seriously), the woman who taught Benjamin piano... was a little overdramatic, like they were trying to grab us too soon, trying too hard to bring the audience in to sympathize with the characters. Anyway, overall, it was a good movie. Cate Blanchett, Brad Pitt, and Taraji P. Henson all brought good performances into it. And the effects were good but not overdone or too braggy.
Slumdog Millionaire, I just saw today. Now, I don't think I can find one bad thing to say about it. I will say here and now, Slumdog Millionaire is my favourite for Best Picture at this point in time. Nothing bad against my other favourites that are possible Best Picture contenders (here's looking at you, Dark Knight and Milk), but Slumdog Millionaire is just so good. It was wonderful to look at, not necessarily beautiful (considering like half the film plays out in slummy areas), but perfect. The cinematography was great, the way the camera poses were perfectly imperfect, giving this film such a nifty unconventional feel. Danny Boyle definitely deserves a directing nod (and I feel the same about Christopher Nolan and Gus Van Sant, BTWs, Academy >.>), and the screenplay was also great, great stuff. Just an overall vibrant and beautiful movie. This is one I'd love to see again. I'd also love to see more Dev Patel! He did a really excellent job with Jamal and although it was definitely an ensemble film (even though there's a main character, he's played by three different actors of varying ages), I think his performance was particularly great. The actors that played his brother, Salim, also, did an especially good job with all three ages. And the soundtrack! Oh my god, what a perfect mix of so much. And I was laughing, happily, when I heard M.I.A. singing along. After hearing Paper Planes non-stop for months, it was wonderful to see it in such a film. <3"
From December 28, 2008:
"Two more films down.
The Curious Case of Benjamin, I saw on Friday. It was a good movie, no doubt about that, and I enjoyed it. I have to admit that I didn't get as into it as I am sure the minds behind the film wanted me to. A lot of movies strive to bring the audience into the lives of the people they portray, in fact, I think most movies try to grab audiences and bring them in, if not all. But I felt very disconnected from Benjamin Button. It was a good story to watch, but I was definitely watching everything. I was extremely conscious of my presence outside of the movie. It started off too slow for my tastes, taking too long with old!Brad Pitt before it got into the story, really. And although I loved the guy who told us all the ways he got struck by lightning (hilarious, seriously), the woman who taught Benjamin piano... was a little overdramatic, like they were trying to grab us too soon, trying too hard to bring the audience in to sympathize with the characters. Anyway, overall, it was a good movie. Cate Blanchett, Brad Pitt, and Taraji P. Henson all brought good performances into it. And the effects were good but not overdone or too braggy.
Slumdog Millionaire, I just saw today. Now, I don't think I can find one bad thing to say about it. I will say here and now, Slumdog Millionaire is my favourite for Best Picture at this point in time. Nothing bad against my other favourites that are possible Best Picture contenders (here's looking at you, Dark Knight and Milk), but Slumdog Millionaire is just so good. It was wonderful to look at, not necessarily beautiful (considering like half the film plays out in slummy areas), but perfect. The cinematography was great, the way the camera poses were perfectly imperfect, giving this film such a nifty unconventional feel. Danny Boyle definitely deserves a directing nod (and I feel the same about Christopher Nolan and Gus Van Sant, BTWs, Academy >.>), and the screenplay was also great, great stuff. Just an overall vibrant and beautiful movie. This is one I'd love to see again. I'd also love to see more Dev Patel! He did a really excellent job with Jamal and although it was definitely an ensemble film (even though there's a main character, he's played by three different actors of varying ages), I think his performance was particularly great. The actors that played his brother, Salim, also, did an especially good job with all three ages. And the soundtrack! Oh my god, what a perfect mix of so much. And I was laughing, happily, when I heard M.I.A. singing along. After hearing Paper Planes non-stop for months, it was wonderful to see it in such a film. <3"
Stealing From My Livejournal Part XIV
As I use my livejournal for little else except for movie rants and decided to switch over here, I thought I'd recruit some older posts so as to show a history. I'll bother with new ones as they come to me.
From December 16, 2008:
"“Rock Me Sexy Jesus” from “Hamlet 2” is on the 49 song long queue for the Academy Award for Best Original Song from a Motion Picture.
THAT WOULD BE SO AWESOME.
But will not happen. xD
HSM3 is on there for like every song too. >.<"
From December 16, 2008:
"“Rock Me Sexy Jesus” from “Hamlet 2” is on the 49 song long queue for the Academy Award for Best Original Song from a Motion Picture.
THAT WOULD BE SO AWESOME.
But will not happen. xD
HSM3 is on there for like every song too. >.<"
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