104- Monsieur N. [5.0]
A historical mystery thriller about Napoleon. Sir Hudson Lowe is assigned to guard Napoleon while the latter is in exile in Saint Helena. A local girl, Betsy, has a crush on the exiled leader. This, along with the fact that keeping Napoleon on the island is costing the British a great sum of money, leads Lowe to consider drastic action.
I’ve been tremendously fascinated by Napoleon Bonaparte for almost six years now. I’ve read countless biographies and even put together a silly little concept album based on the historical figure. I couldn’t recommend Monsieur N. to a casual viewer, as I think there are too many factors that prevent it from being interesting to anyone but those heavily drawn into the Napoleon legend. There are many details and references that would have went over my head had I not done research prior to seeing the movie. With about twenty minutes to go, Monsieur N. becomes a laughable mystery movie when there’s seemingly no material left to cover. I’m still trying to find an awesome Napoleon movie and would love a good recommendation.
103- City Lights [8.5]
The Little Tramp makes the acquaintance of a blind flower girl, who through a series of coincidences has gotten the impression that the shabby tramp is a millionaire. A second storyline begins when the tramp rescues a genuine millionaire from committing suicide.
The degree of brilliance displayed throughout Charlie Chaplin’s filmography may vary, but one thing is consistent throughout each of his works: they are damn funny. Initially, City Lights plays out like a series of Tramp skits, but it eventually settles into a charming mix-up story. Though the boxing sequence felt a bit long, there were so many laughs peppered throughout that it was worth the extended bit time. The final scene is one that left a big, stupid smile on my face, even if it wasn’t difficult to telegraph. Though The Great Dictator remains my favorite CHaplin film, City Lights is a close second.
102- A Dangerous Method [6.0]
Seduced by the challenge of an impossible case, the driven Dr. Carl Jung takes the unbalanced yet beautiful Sabina Spielrein as his patient.
Both the historical figures and topics at the center of A Dangerous Method are endlessly fascinating. Be it the relationship between Carl Jung and Sigmund Freud, or psychoanalysis being explored and potentially limited due to the fears of its reception, there should be no shortage of interesting material to keep the viewer intrigued. Instead, David Cronenberg’s film goes from one scene to the next without much dynamic change.
That’s not to say that A Dangerous Method is largely a bore. Jung and Freud’s admiration and jealousy for each other is displayed in a subtle fashion until their relationship completely fractures. Considering their vast intellect, I appreciated that there wasn’t some verbal blow out shouting match nor venomous, manipulative attacks; rather, their competitive, jealous, and opposing views all play a part over the course of the film in giving ample reason as to why they split from each other both professionally and as friends. It’s a shame, though, that there is no emotional weight under any of it.
A Dangerous Method is best when Jung and Freud are simply bouncing ideology off each other. Michael Fassbender turns in yet another terrific performance, but it’s Viggo Mortensen that is at the best I’ve seen him as Sigmund Freud. His slow, almost cautious delivery shows Freud as a man who’s rarely at a lack of understanding, yet always measures his words carefully. Props are due to the makeup department, as Mortensen truly looked like someone else.
The one performance that I imagine is going to be divisive is that of Keira Knightley’s as Sabina Spielrein. The opening scenes showcase her in the middle of a nervous breakdown, and her acting teeters dangerously between captivating and scenery chewing. There were times in the first act where I was so unsure if her acting was laughable that it took me out of the movie completely. Her Russian accent, though not great, is at least somewhat consistent throughout.
The movie occasionally slips into melodrama (especially at the end) but largely shies away from it. I felt largely conflicted throughout as my appreciation for what is being covered in Method is something that interests me greatly, but perhaps not played out in this fashion.
101- Half Nelson [5.5]
An inner-city teacher struggling with a drug habit forms an unlikely bond with a young student who catches him in a compromising position.
Half Nelson lays it on pretty thick with its theme of change in history (or lack thereof) and how it can relate to addiction. Though it thankfully avoids a lot of trite plot points found in teacher/student movies (especially those set in urban neighborhoods), Half Nelson still feels like a dozen films you’ve seen before stitched together. Ryan Gosling and young Shareeka Epps are excellent, but there performances are much better than the material at hand. (Also, as much as I love Broken Social Scene, their music felt quite out of place throughout.)
100- Shame [9.5]
Brandon is a New Yorker who shuns intimacy with women but feeds his desires with a compulsive addiction to sex. When his wayward younger sister moves into his apartment stirring memories of their shared painful past, Brandon’s insular life spirals out of control.
Remember the film that gave you pause for one reason or another? That scene that caused you to stop in a theater or at home and acknowledge: this is why I watch cinema. There were an abundance of times throughout Shame where I paused to think of both the immediate impact it was taking on me, and the likely long-term effect as well. Almost thirteen months ago, I set out to gain a better of understanding of what individual components make for a cinematic opus that can be talked about for decades to come. I considered the hyperbole that comes with reviewing such films, and how it can cause a reader of my reviews to come in to a film with loaded expectations. It’s with that in mind that I claim that it may damn near be a coincidence, but my hundredth film viewed since 1/1/11 is very well my favorite thus far.
There is nothing remotely sexy about Shame; rather, sex is treated as a disease in the respect that director Steve McQueen is not making a judgement, but instead, displaying the ugliness of this particular potential addiction. McQueen operates most poignantly under two parameters: filming an extensive uncut sequence (as in the record breaking sequence in his directorial debut Hunger) and shooting a long scene without dialogue. The opening dialogue free scene of Shame is an examination of the nature of what a shared glance can entail, and it’s the perfect intersection of material and action for McQueen to film. Though not necessarily a complex scene, the audience is given a tremendous amount of visual information.
The morose score in Shame undercuts the implied sadness of the sexual acts depicted throughout. Composer Harry Escott chooses not to overemphasize Brendan’s (Michael Fassbender) plight in a melancholy fashion, but instead accent the lack of joy in the protagonist’s actions. Fassbender’s sickening determination, as well as his understated morbid sexual obsession, is one of the finer acting performances in quite some time. McQueen gives him a tremendous amount to work with, as Shame doesn’t stay in one finite tonality. There are moments of humor in which (aside from Fassbender’s handsomeness) Brendan’s charm is intoxicating to the female opposite of him, but there are also scenes where his fixation is an incredibly ugly and abusive animal.
James Badge Dale as David, Brendan’s sleazy boss, shows more range than I knew he was capable of during his stint in Rubicon. Though a reveal of his character’s background felt like a superfluous detail and misstep, I was pleased to see the opposite side of what Brendan could be. David has virtually the same intentions of Brendan, and yet his execution is seemingly a world away. The viewer is left with the perspective that Brendan is less sleazy since we follow him throughout, yet how do we truly feel about his addiction? It’s portrayed in a complex, often sad way, and still we can see this tortured person as a shallow man.
There’s a tremendous intimacy to Sissy’s (Carey Mulligan) performance of “New York, New York” in a jazz club, though it correlates with Brendan’s unhappiness and detachment to emotion in a chilling way. The arrangement of the song, with its chromatic scales and minor key chord changes from the original version, is almost off putting at first. Like most successful elements of Shame, it threw me for a loop as to what my expectations were when the scene started out. Sissy isn’t just a caricature of depression and craziness in the same way that Brendan is not simply just a sex addict– these are layered people brought so vividly alive by the outstanding performances by Fassbender and Mulligan.
There is a pivotal scene between Brendan and a secretary at his company that exposes the grand difference between pure sex and lovemaking. It is very important to make that distinction, as it is the separation of what informs Brendan’s addiction and what causes him to repel. Prior to that, McQueen shoots one long, uninterrupted sequence at a restaurant. The manner in which Brendan and the secretary’s conversation shifts is almost frighteningly real, and also a thorough examination of the difference in expectations and desires that can exist between two people. Though both characters may want the same thing, the way in which they arrive to their readiness of that conclusion is utterly fascinating. Details such as this (and Brendan’s workday not being complete without the sugar rush of a Red Bull) are part of what make the film so enjoyable.
It’s worth noting that Shame may not have been nearly the monster that it is without Michael Fassbender’s performance. Time and again, he has proven himself as one of this generation’s premier actors. The man is an embodiment of the delicate line between complete subtlety and outwardly expressing a lot of emotion with very little dialogue.
One of the rules I put on this site is that I have the right to revisit a review and change a score or edit as I see fit. It is my sincere hope that I don’t return to Shame and find a need to withdraw one of my strong opinions. Perhaps instead I will find more things to appreciate past my initial viewing and it will truly enter the upper echelon of my film viewing experience.
99- The General [9.5]
Johnny Gray, a Southern railroad engineer who loves his train engine, The General, almost as much as he loves Annabelle Lee. When the opening shots of the Civil War are fired at Fort Sumter, Johnny tries to enlist — and he is deemed too useful as an engineer to be a soldier. All Johnny knows is that he’s been rejected, and Annabelle, thinking him a coward, turns her back on him.
There are stunts in The General that blew me away for a movie that is approximately eighty-five years old; moreover, I was taken aback by just how damn funny the whole thing was. There are an abundance of legends in the silent era, but Buster Keaton may be my favorite. His stone face reactions are in stark contrast to the explosions and absurdities around him, causing a hilarious disparity. The General isn’t just an exercise in nostalgic pleasure, but rather, a masterpiece of humor that has stood the test of time.
98- In the Loop [7.5]
The run-up to war makes for curious rivalries and uneasy alliances in this political satire. Simon Foster is a minor minister of international development with the British government who, in the midst of a radio interview, casually tells a reporter “war is unforeseeable.”
In the Loop moves at a breakneck pace, as one poor political decision spirals into another, leading to war. Like most successful political satires, this black comedy balances humor with preposterousness so outlandish that it’s frightening to realize these instances may have very well happened. The vile thrown between constituents and council is biting, and the snappish dialogue never falters. I was a bit disappointment with the maudlin music towards the end, as I don’t believe it was necessary to underscore the events unfolding. Regardless, In the Loop is a well executed, witty satire that is occasionally quite nasty.
97- Silver Streak [5.0]
While taking a train trip from L.A. to Chicago, mild-mannered George Caldwell makes the acquaintance of Hilly Burns. As they indulge in a brief bit of spooning, Hilly tells George that her boss is on the verge of exposing a group of vicious art forgers.
At times, Silver Streak is a Hitchcockian murder mystery. Then it delves into romance, buddy comedy and James Bond-esque action film segments. (I can practically see a movie executive pitching the film, saying “it’s got everything!”.) The one consistent thing throughout is the joy of watching Gene Wilder slide from one genre to the next rather effortlessly. Before watching his teamups with Richard Pryor, I didn’t know that the mild mannered actor had a little bit of crazy in his repertoire (though his performance in Willy Wonka certainly leans in that direction). I would’ve enjoyed Silver Streak if it was more consistent in tone throughout, but the Wilder/Pryor classic scene in a bathroom made it worth watching on its own.
96- Hunger [7.5]
The final months of Bobby Sands, the Irish Republican Army activist who protested his treatment at the hands of British prison guards with a hunger strike, are chronicled in this historical drama.
A large part of the first hour of Hunger is virtually silent, with sparse dialogue occasionally thrown in. It is in a seventeen-and-a-half-minute single shot scene between Michael Fassbender and Liam Cunningham that the film explodes. This Guinness world record-breaking scene is not done in a gimmicky fashion. An ideological debate occurs that gives the viewer an insight into what Bobby Sand’s rational was in opting for a hunger strike. Though neither him nor the priest get particularly loud, the conviction with which they deliver their different perspectives make for an incredibly electrifying scene. Fassbender delivers yet another amazing performance, and is quickly becoming one of my favorite actors of his generation.
95- Stir Crazy [5.5]
Down-on-their-luck friends are given 125-year prison sentences after being framed for a bank robbery.
The teaming of Gene Wilder and Richard Pryor is a wonderful thing, but Stir Crazy is not. What starts off as a very funny comedy quickly becomes sillier and sillier as soon as the two enter prison. It’s interesting to watch Pryor be so subdued while Wilder is over the top, but I wish the whole rodeo subplot wasn’t a part of the movie.
94- The Wave [7.0]
During a project week, high school teacher Rainer Wenger comes up with an experiment in order to explain to his students how totalitarian governments work. Within a few days, what began as harmless notions, like discipline and community, builds into a real movement.
In addition to the pressures and uncertainties that come with being a youth, there is a yearning for identification with an ideology. The Wave is an exploration of how fascism can be seductive to young, impressionable minds. It’s an interesting choice to have the film set in Germany, as the historical context of the country frames the potential of an uprising in a fascinating manner. Though some plot developments are easy to telegraph and there is a fair share of generalizations throughout, The Wave succeeds in leaving both the teacher and students accountable for their actions, thereby letting the audience view key scenes without bias.
93- Fish Story [6.5]
A rare single by an obscure rock band makes a strange voyage through time in this witty and original science fiction tale.
Fish Story is an odd movie that, until the last few minutes, seems to not be coherently structured. It is then that director Yoshihiro Nakamura makes me want to re-watch the film over again to have a better appreciation for Fish Story. I really like the emphasis he places on the power of music, but was even more impressed by how well he melded science fiction into the narrative. Fish Story isn’t for everyone (I grew a little restless towards the end) but is an interesting example of how to upend a viewer’s expectations for how a movie can be laid out over three acts.
92- Into the Abyss [6.5]
In his fascinating exploration of a triple homicide case in Conroe, Texas, master filmmaker Werner Herzog probes the human psyche to explore why people kill-and why a state kills. In intimate conversations with those involved, including 28-year-old death row inmate Michael Perry.
Each time I view a documentary, I carry a bit of suspicion with me. Regardless of the topic, a talented filmmaker can easily manipulate you in any number of ways, and I believe it’s worth being aware of when getting swept into one of these films. With that in mind, I was thoroughly impressed with how Werner Herzog largely lets you draw your own conclusions in Into the Abyss.
Having over forty years of documentary-making experience under his belt, Herzog opts to explore capital punishment by showing the facts of one particular crime case, as well as all the people surrounding it. Law officers, families of victims, and the criminals themselves explain how a series of murders went down and the rippling effects the events had on their lives. For a large part of Into the Abyss, capital punishment isn’t directly discussed (though we know at least one of the inmates will die of lethal injection in eight days from them being filmed) but the question of as to whether or not it’s right looms over the entire film.
Into the Abyss is not necessarily an enjoyable experience, nor one you’d likely watch again; however, it’s worth a viewing for how it gets you to think of a difficult subject in a non-manipulative fashion.
91- Catch-22 [9.0]
Haunted by the death of a young gunner, all-too-sane Capt. Yossarian wants out of the rest of his WW II bombing missions, but publicity-obsessed commander Colonel Cathcart and his yes man, Colonel Korn, keep raising the number of missions that Yossarian and his comrades are required to fly.
It’s quite the gargantuan task to adapt Joseph Heller’s Catch-22 into a somewhat sensical narrative, and Mike Nichols succeeds. The sheer insanity of war, the men who seek to profit from it, and the toll taken on a young man’s mind by deadly combat all get explored in this occasionally humorous, but mostly sad film.
Anchored by Alan Arkin’s manic performance as Yossarian, Catch-22 has a big tonal shift in the sobering third act, but it largely works. Though not my favorite cinematic example of war satire (that honor would belong to Dr. Strangelove), I’d like to revisit this adaptation again in the future.
90- Tucker and Dale vs. Evil [3.0]
Tucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids.
Tucker and Dale vs. Evil takes a good comedy of errors premise about an hour too long. This film would’ve worked much better as a short, and its only saving grace are Tyler Labine and Alan Tudyk as the titular characters. They’re both better actors than the material they’re working with, but they play Tucker and Dale as if they were involved in a better movie.
