As I type this blog on a Macbook Air I realize how Steve Jobs has been compared to The Beatles and Michelangelo. I remembered when he died and their was candlelight vigils and flowers in front of the Apple Store's. I never once fell for this joke of a modern icon. It always seemed ironic to me that people where calling a man who designed a computer a Renaissance man and a revolutionary. He could not hold a candle to Michelangelo. Steve Job's was a corporate tool that helped contribute to the icy solitude of our society by developing technology for computer products. Think of a time in life without computer products and how much more enriched the experience was when most people were actually aware of the present moment.
Needless to say going into Danny Boyle's film I had my doubts. However, Michael Fassbender is on fire as an electric narcissistic, egomaniac, obsessive compulsive, control freak. The line of Aaron Sorkin's dialogue that keeps resonating in my mind is during the second launch Fassbender exclaims to Kate Winslet "of course we are going we are going to start on TIME!!!" This may sound like a trivial line, but in a sense it signifies everything about the character he portrays. The efficiency and robotic nature of Fassbender in the role is awe-inspiring. Like Anthony Hopkins portraying President Nixon in Oliver Stone's Nixon. There is no physical similarities to the characters. As a viewers you may find Nixon and Jobs despicable, but you want to keep digging through the layers of the cake. Their is no mimicking either. Fassbender creates someone who is not Steve Jobs, but someone of his own. He arranges flowers to look more simplistic. He dips his feet in toilet water. This is someone who denies his offspring and is horrible to all of his friends. In many ways he is so obsessed with creating the Apple Computer because he thinks the operating system will heal himself. He is an orphan and has trust issues. By having a more user friendly computer perhaps he thinks he will be a more user friendly person.
The acting is the best I have seen all year. Fassbender goes above and beyond and creates a character unlike any other. He sees himself as a conductor of an orchestra. He is determined beyond belief, yet their is a vulnerability that he does not have the ingredients or social skills to be human. He lives in a delusional reality and is so egocentric that he cannot even see other peoples problems. Even when those problems are hitting him over the head like a frying pan. The scene between him and Kate Winslet when she throws the papers on the floor is star studded. The exchange that occurs between Fassbender and Seth Rogen in the symphony room dictates the crux of the whole story.
Cheers to Fassbender, Aaron Sorkin, Kate Winslet, Seth Rogen, and Danny Boyle Steve Jobs was the movie of the year.
Thanks to the hits from ITALIA, Russia, France, Indonesia, and Argentina!!! Keep global cinema rolling.
Saturday, October 10, 2015
Saturday, September 26, 2015
EVEREST
In life there are peak experiences and valleys. Their are also plateaus. The men and women that journeyed to Everest in 1996 were looking for peaks. The joy of getting to the summit must be an irresistible urge. As Josh Brolin explains "the reason I am climbing Everest is because when I am not climbing I am extremely depressed." John Hawkes explains "I want my kids when I share at their school to be proud of me." Thinking about Hawkes point made me realize that for modern men and women's lives there comes a point where there is a struggle to find purpose and meaning. Climbing Mt.Everest is definitely an extreme choice. In a way it is totally crazy that the only way some people can feel truly alive is to be at the summit of the highest peak on Earth. For others actors like Jason Clarke and Jake Gyllenhaal they are tour guides and climbing Everest is a job. The visuals of Everest are spectacular. Baltasar Kormakur is an Icelandic director I have never heard of. However, being a native of Iceland he seems to have a gut instinct for shooting cold weather.
The performances by all the actors are well done. The movie will no academy awards because many critics feel that parts of the film are too syrupy. I vehemently disagree. I think the phone conversations between wives and climbers are the glue that holds the film together. I also believe it the best acting by Sam Worthington I have ever seen. Being allowed to use his native Australian accent. "We are going to get you some O and some hot tea, you just got to keep moving" was a powerful scene. Many deep scenes occur by radio and telephone.
The film touches on the theme on survival and mankind's willing to go to extremes to keep that happening. Being able to risk it all in order to do what you love.
That theme was exemplified in the year's Best Documentary Meru. Where Jimmy Chin, Conrad Anker , and Renan Ozturk climb Meru which is arguably the most difficult mountain to climb in the world.
Shout out to ITALIA, Iceland, and Sweden.
The performances by all the actors are well done. The movie will no academy awards because many critics feel that parts of the film are too syrupy. I vehemently disagree. I think the phone conversations between wives and climbers are the glue that holds the film together. I also believe it the best acting by Sam Worthington I have ever seen. Being allowed to use his native Australian accent. "We are going to get you some O and some hot tea, you just got to keep moving" was a powerful scene. Many deep scenes occur by radio and telephone.
The film touches on the theme on survival and mankind's willing to go to extremes to keep that happening. Being able to risk it all in order to do what you love.
That theme was exemplified in the year's Best Documentary Meru. Where Jimmy Chin, Conrad Anker , and Renan Ozturk climb Meru which is arguably the most difficult mountain to climb in the world.
Shout out to ITALIA, Iceland, and Sweden.
Saturday, September 19, 2015
Sicario's: Shock & Awe
"Have you ever been to Juarez before?" Early on Benicio Del Toro poses this question to Emily Blunt's character in Denis Villeneuve's latest film Sicario. The question is the mineshaft a viewer finds themselves thrust into in Villeneuve's cartel drama. I myself saw Juarez from 100 yards away 5 years ago during the height of the cartel violence. Even from the Texas side the town seemed like a combination of skid row and criminal activity. Driving along the fence line in El Paso I could see the poverty in the form of shanty houses and the mountain of Ciudad Juarez. The mountain had a gigantic Mexican Flag and white spanish letters reading Ciudad Juarez. The energy seemed ominous and having actually visited Tijuana and Nogales Arizona the vibe was totally different. Perhaps as a reader you may ask why I am mentioning this so much. Well because when you watch the French-Canadian Denis Villeneuve's behind the wheel as director in his latest feature Sicario and it feels like going into Juarez in a military convoy to hunt for a cartel jefe you still don't feel safe at all even with the military in Juarez. The convoy of driving from El Paso into Juarez is the best driving sequence I have seen in a long time. Accompanied with an elegant and eerie score that bleeds in long sequences of reverb you feel like you are going into another dimension like Apocalypse Now.
Well Steven Soderbergh's Traffic will undoubtedly be compared to this film. Both tackle the drug war and border violence. In addition both features star the amazing Benicio Del Toro in which he won an oscar for the later. In this feature he vanishes into the shadows of truly creepy and tour-de-force acting. He does not yell in the entire film which makes him much scarier. He looks sleepy, but he is more alert and has a deeper understanding of what the cartels are doing than anyone in the film. He does not work for the CIA or Mexico, but is a personal contractor for himself for personal reasons and they are not money. I can't say enough about Del Toro in this film he truly walks away with it. That is not to diminish Emily Blunt or Josh Brolin's performances they are both outstanding.
Sicario wants to dig deep into the actual cartel and border activity itself in the supplying of drugs to the United States. The film wants show how a fiercely determined Emily Blunt similar to Jodie Foster in The Silence of the Lambs, and Jessica Chastain in Zero Dark Thirty tries to do the right thing at all costs. In many ways Blunt has multiple titles she is an FBI agent, liaison, volunteer, bait, and most importantly an observer. She gets the filmgoer to observe the insane environment from a normal person's perspective and see how truly crazy it is. She keeps trying to convince all these people that they need to do things by the book and she wants to build a legitimate case. She is a fearless hunter for the truth and willing to go a great distance.
Brolin gives a performance that has shades of Oliver Stone's W. In the sense that he is a man with a mission and he is going to accomplish it regardless of the costs or harm it causes to others.
The shock and awe of the film is like No Country for old Men in that there is no comic relief from start to finish. The film digs deep into the darkness of the human condition and the war on drugs.
The film will never win oscars because it is too bold and goes for the jugular. Denis Villeneuve is building one hell of a resume. With just Prisoners and Sicario he has made more of a directorial splash than just about anyone. Everyone else is pretty well established. There is an intensity and a freshness to his perspective. He creates tension like few can. From the opening sequence of the armored vehicle piercing the stash house. To the final frame of Blunt's decision. He stays true to this concept of creating a tough as nails environment.
Can't wait for his next two Story of Your Life and Blade Runner 2.
Shout out to the hits from Italy, Portugal, Mexico, Russia, and France!!!
Go Fall Summit Cinema 2015!
Well Steven Soderbergh's Traffic will undoubtedly be compared to this film. Both tackle the drug war and border violence. In addition both features star the amazing Benicio Del Toro in which he won an oscar for the later. In this feature he vanishes into the shadows of truly creepy and tour-de-force acting. He does not yell in the entire film which makes him much scarier. He looks sleepy, but he is more alert and has a deeper understanding of what the cartels are doing than anyone in the film. He does not work for the CIA or Mexico, but is a personal contractor for himself for personal reasons and they are not money. I can't say enough about Del Toro in this film he truly walks away with it. That is not to diminish Emily Blunt or Josh Brolin's performances they are both outstanding.
Sicario wants to dig deep into the actual cartel and border activity itself in the supplying of drugs to the United States. The film wants show how a fiercely determined Emily Blunt similar to Jodie Foster in The Silence of the Lambs, and Jessica Chastain in Zero Dark Thirty tries to do the right thing at all costs. In many ways Blunt has multiple titles she is an FBI agent, liaison, volunteer, bait, and most importantly an observer. She gets the filmgoer to observe the insane environment from a normal person's perspective and see how truly crazy it is. She keeps trying to convince all these people that they need to do things by the book and she wants to build a legitimate case. She is a fearless hunter for the truth and willing to go a great distance.
Brolin gives a performance that has shades of Oliver Stone's W. In the sense that he is a man with a mission and he is going to accomplish it regardless of the costs or harm it causes to others.
The shock and awe of the film is like No Country for old Men in that there is no comic relief from start to finish. The film digs deep into the darkness of the human condition and the war on drugs.
The film will never win oscars because it is too bold and goes for the jugular. Denis Villeneuve is building one hell of a resume. With just Prisoners and Sicario he has made more of a directorial splash than just about anyone. Everyone else is pretty well established. There is an intensity and a freshness to his perspective. He creates tension like few can. From the opening sequence of the armored vehicle piercing the stash house. To the final frame of Blunt's decision. He stays true to this concept of creating a tough as nails environment.
Can't wait for his next two Story of Your Life and Blade Runner 2.
Shout out to the hits from Italy, Portugal, Mexico, Russia, and France!!!
Go Fall Summit Cinema 2015!
Friday, July 24, 2015
Southpaw: TKO
Dear Ladies and Gentleman,
Sprinkled with the magic of Paulie Malignaggi, Scotty Olson, Michael Carbajal, Joe Hipp, Tommy Hearns, and Mickey Ward. The guts the glory of Rocky, The Fighter, Raging Bull and Bloodsport.
Typified with the primordial rage of fire, blood, ice. Here comes a film that does not offer apology. The peak and rock bottom lifestyle of championship boxing. Where they seize your mansion and your entourage leaves at the flip of a switch. Where Mike Tyson is cascaded in flashbulbs on the red carpet like the shell of a lion for his one man show. Tyson is still touring the world to get out of debt when he was the highest paid athlete in the 1980's. Don King charged him $5,000.00 for towels in his corner. When I saw Mike in reality in Hollywood for his one man show he looked like a wounded lion. A deep sadness came from his eyes on the red carpet. Yet when I watched him on the television carpet as a small boy with my father I never had seen a higher athletic peak before or since. Boxing is all or nothing.
The summer movie award goes to Antoine Fuqua's Southpaw because it captures just that. Jake Gylenhall pulls out a tour de-force performance. His chiseled boxer's body is not super-hero chiseled but boxing chiseled. Forest Whitaker gives one of the best performances since Panic Room as a trainer he digs deep into the logic of boxing. Rachel Mcadams hot off of True Detective 2 kills it as his wife.
The peaks and valleys of boxing is what Fuqua masterfully achieves.
Getting into the hunger and the decadence are well done by the Rocky franchise. The poverty and the royalty of men who are not that bright. Yet are given their moments to stand like gladiators in the arena and be crowned champs. Only done with the help of great trainers or in my life a heroic father.
Sprinkled with the magic of Paulie Malignaggi, Scotty Olson, Michael Carbajal, Joe Hipp, Tommy Hearns, and Mickey Ward. The guts the glory of Rocky, The Fighter, Raging Bull and Bloodsport.
Typified with the primordial rage of fire, blood, ice. Here comes a film that does not offer apology. The peak and rock bottom lifestyle of championship boxing. Where they seize your mansion and your entourage leaves at the flip of a switch. Where Mike Tyson is cascaded in flashbulbs on the red carpet like the shell of a lion for his one man show. Tyson is still touring the world to get out of debt when he was the highest paid athlete in the 1980's. Don King charged him $5,000.00 for towels in his corner. When I saw Mike in reality in Hollywood for his one man show he looked like a wounded lion. A deep sadness came from his eyes on the red carpet. Yet when I watched him on the television carpet as a small boy with my father I never had seen a higher athletic peak before or since. Boxing is all or nothing.
The summer movie award goes to Antoine Fuqua's Southpaw because it captures just that. Jake Gylenhall pulls out a tour de-force performance. His chiseled boxer's body is not super-hero chiseled but boxing chiseled. Forest Whitaker gives one of the best performances since Panic Room as a trainer he digs deep into the logic of boxing. Rachel Mcadams hot off of True Detective 2 kills it as his wife.
The peaks and valleys of boxing is what Fuqua masterfully achieves.
Getting into the hunger and the decadence are well done by the Rocky franchise. The poverty and the royalty of men who are not that bright. Yet are given their moments to stand like gladiators in the arena and be crowned champs. Only done with the help of great trainers or in my life a heroic father.
Friday, May 22, 2015
The Cut
The Cut is a film that is both political and epic in scope. On the hundredth anniversary of the Armenian Genocide many critics have argued that it is not appropriate for a director of Turkish descent to take on a story set in this time. Global cinema is vital to promote empathy and understanding. Anyone should be allowed to offer their perspective on any historical topic regardless of their geographic location or cultural background.
The Cut is directed by one of my all time favorite directors Fatih Akin. The first master stroke of genius I had the privilege to witness by Akin was Head-On. In that film Birol Unel gave one of the most unrestrained amazing performances I have ever seen. The film took place in Germany and had a conservative Turkish perspective and a punk rock one. Akin loves to press the envelope. The Edge of Heaven was about a Lesbian couple in Germany and again was fascinating. Soul Kitchen was his biggest commercial success about a Greek restaurant owner in Germany who revolutionizes his menu by getting a new chef. Birol Unel was the chef. Soul Kitchen was a comedy and arguably Akin's most accessible film. The comedy again has punk rock sensibilities and a great dose of humor.
Music is always one of Akin's best uses as a director his documentary Crossing the Bridge: to Istanbul does a great job of capturing such a wide range of music from that region. From hip-hop, punk rock, traditional music, and female vocalists.
The Cut is a film itself that is epic in scope. The movie covers continents and is essentially a survival tale. Akin had to move mountains to make this film. The fact that it is a period piece set in multiple countries around the turn of the century was practically biblical. The attention to historical detail and extras was awe-inspiring. I have never seen Cuba and the United States portrayed in such a historical way on such a limited budget.
The look of the film is one thing. The acting of Tahir Rahim who I have never seen before is another. The lead actor is essentially silent throughout the feature, but conveys such a range of emotions simply with his eyes. His speech has been removed for a variety of reasons. One being the physical and the other the emotional. This man has witnessed so much carnage and pressed through so much turmoil. When he watches the silent films of Charlie Chaplin at the refugee camp he is deeply affected.
Akin has a number of sequences where Rahim is walking for extended periods of time. I feel that sadly not enough contemporary films allow this to happen organically anymore. The Lawrence of Arabia sensation has vanished from so many screens. By the end of the film I felt I had been taken on a journey unlike any other in a long time.
The film is not just about politics, religion, or survival. The director hits on the human condition and history like Scorsese with The Last Temptation of Christ, Bertolucci with The Last Emperor and Oliver Stone with Alexander. The film has heart that will stay with you regardless of culture, status, or religion. When that happens you know the entire production has done it's job. Thank you Fatih Akin for staying true to art and continuing to inspire a sense of heart and self in audiences.
The Cut is directed by one of my all time favorite directors Fatih Akin. The first master stroke of genius I had the privilege to witness by Akin was Head-On. In that film Birol Unel gave one of the most unrestrained amazing performances I have ever seen. The film took place in Germany and had a conservative Turkish perspective and a punk rock one. Akin loves to press the envelope. The Edge of Heaven was about a Lesbian couple in Germany and again was fascinating. Soul Kitchen was his biggest commercial success about a Greek restaurant owner in Germany who revolutionizes his menu by getting a new chef. Birol Unel was the chef. Soul Kitchen was a comedy and arguably Akin's most accessible film. The comedy again has punk rock sensibilities and a great dose of humor.
Music is always one of Akin's best uses as a director his documentary Crossing the Bridge: to Istanbul does a great job of capturing such a wide range of music from that region. From hip-hop, punk rock, traditional music, and female vocalists.
The Cut is a film itself that is epic in scope. The movie covers continents and is essentially a survival tale. Akin had to move mountains to make this film. The fact that it is a period piece set in multiple countries around the turn of the century was practically biblical. The attention to historical detail and extras was awe-inspiring. I have never seen Cuba and the United States portrayed in such a historical way on such a limited budget.
The look of the film is one thing. The acting of Tahir Rahim who I have never seen before is another. The lead actor is essentially silent throughout the feature, but conveys such a range of emotions simply with his eyes. His speech has been removed for a variety of reasons. One being the physical and the other the emotional. This man has witnessed so much carnage and pressed through so much turmoil. When he watches the silent films of Charlie Chaplin at the refugee camp he is deeply affected.
Akin has a number of sequences where Rahim is walking for extended periods of time. I feel that sadly not enough contemporary films allow this to happen organically anymore. The Lawrence of Arabia sensation has vanished from so many screens. By the end of the film I felt I had been taken on a journey unlike any other in a long time.
The film is not just about politics, religion, or survival. The director hits on the human condition and history like Scorsese with The Last Temptation of Christ, Bertolucci with The Last Emperor and Oliver Stone with Alexander. The film has heart that will stay with you regardless of culture, status, or religion. When that happens you know the entire production has done it's job. Thank you Fatih Akin for staying true to art and continuing to inspire a sense of heart and self in audiences.
Sunday, April 12, 2015
Clouds of Sils Maria
The Clouds of Sils Maria is a fascinating journey about the way a female star skyrockets to stardom in youth and plateaus in middle age. Juliette Binoche takes the role head-on and allows herself to be completely exposed. Kristen Stewart plays her personal assistant and life imitates art throughout the picture. Bella Swan is in some ways Chloe Grace Moretz's character. The mega-star comic book heroine. Moretz knows how to satisfy Binoche in a key scene when they first meet. Moretz endlessly compliments Binoche on her achievements and cites that she is the reason she wanted to become an actress.
The lines that are read in the film within a film between Stewart and Binoche are captivating. The French are absolutely correct to give Stewart a Cesar for this performance. Stewart shows the depth and holds her own with Binoche as the two women joust in a remote chalet in the Swiss Alps. The clouds become a character in this film. The snake is an splendid experience to witness as a filmgoer. Oliver Assayas exposes all the haunting qualities of celebrity from youth to middle-age. He was great in making Something in the Air about the music scene and politics in France. Boarding Gate by him as well happens to star my favorite actor of all time Michael Madsen and the powerhouse Asia Argento is another terrific experience.
The Clouds of Sils Maria belongs to the women in the film. Binoche, Stewart, and Moretz all represent different aspects of the industry and the film is a testament to their hard work, iciness, vulnerability, and glamor.
Pop the champagne to France, Switzerland, and ITALIA!!!
The lines that are read in the film within a film between Stewart and Binoche are captivating. The French are absolutely correct to give Stewart a Cesar for this performance. Stewart shows the depth and holds her own with Binoche as the two women joust in a remote chalet in the Swiss Alps. The clouds become a character in this film. The snake is an splendid experience to witness as a filmgoer. Oliver Assayas exposes all the haunting qualities of celebrity from youth to middle-age. He was great in making Something in the Air about the music scene and politics in France. Boarding Gate by him as well happens to star my favorite actor of all time Michael Madsen and the powerhouse Asia Argento is another terrific experience.
The Clouds of Sils Maria belongs to the women in the film. Binoche, Stewart, and Moretz all represent different aspects of the industry and the film is a testament to their hard work, iciness, vulnerability, and glamor.
Pop the champagne to France, Switzerland, and ITALIA!!!
Sunday, March 29, 2015
Jauja
In Lisandro Alonso's Jauja a viewer is brought into a dreamscape immediately. The first images of peat moss covered rocks in tide pools are a microcosm of the world the film represents. A surreal dreamscape where a tattered army is helpless and lost in the frontier of Argentina. A land where a colonel offers a horse as a trade for the only woman in a 100 mile radius. A place where men are swallowed by a merciless desert. An area where a renegade former colonel dresses in women's clothes and hunts humans in the hinterland.
Oh how refreshing that ambiguity is served up in all it's forms, but here the film never goes over the line. The film Jauja is not El Topo or Inland Empire. However, the picture is a traditional Western in many respects. The storyline is basic in structure. A ruthless frontier, a missing daughter, and a father that wishes to track her down. A man looking for his daughter in the desert is the rudimentary story. However along this journey many strange things start happening.
The film looks staggeringly beautiful and the landscapes are breathtaking. Viggo Mortensen is perfect as the lead. He portrays a Danish father with poise and grace. His quest for his daughter is quite an adventure. The score of the film is Spanish guitar done by Viggo himself and it has a haunting and relaxing quality. The locations of Patagonia in Argentina are unlike anything I have seen before. They are remote and extraordinary. The film is the kind of film that lingers on a viewer long after the red credits.
Many thanks to the hits from Italy, Argentina, France, Russia, Turkey, and Indonesia! Long live global cinema!
Oh how refreshing that ambiguity is served up in all it's forms, but here the film never goes over the line. The film Jauja is not El Topo or Inland Empire. However, the picture is a traditional Western in many respects. The storyline is basic in structure. A ruthless frontier, a missing daughter, and a father that wishes to track her down. A man looking for his daughter in the desert is the rudimentary story. However along this journey many strange things start happening.
The film looks staggeringly beautiful and the landscapes are breathtaking. Viggo Mortensen is perfect as the lead. He portrays a Danish father with poise and grace. His quest for his daughter is quite an adventure. The score of the film is Spanish guitar done by Viggo himself and it has a haunting and relaxing quality. The locations of Patagonia in Argentina are unlike anything I have seen before. They are remote and extraordinary. The film is the kind of film that lingers on a viewer long after the red credits.
Many thanks to the hits from Italy, Argentina, France, Russia, Turkey, and Indonesia! Long live global cinema!
Saturday, March 7, 2015
Body Horror in Hollywood Babylon
One of the first images we see in "Map to the Stars" is Mia Wasikowska sleeping in a bus headed to Tinseltown. In this moment Cronenberg let's you know that evil is coming to Hollywood. The girl then gets a ride from limo driver Robert Pattinson who say's his most famous fare was Al Gore and he thinks of changing to scientology for a career move. The dialogue of this film is a delight to witness. Not since "Only God Forgives" where such cute vulgarities created for the English language. I would like to make this a capsule review as to not give to much away. However I was completely freaked out by John Cusack's character Dr. Weiss. Cronenberg has one scene shot of him with a million different tones of white as he preps to heal his clients by washing his hands. The horror is so unnerving and almost believable. Julianne Moore goes for the jugular without restraint. Her range is limitless and shows no signs of slowing down. David Cronenberg has decided to destroy Hollywood by burning it to the ground. In a time when on-demand and garbage at theaters is snuffing out the candles of greats like himself, Spike Lee, Michael Mann, and Herzog he decides to stoke the fire and throw kerosene on the descent of Hollywood and the sad state of cinema. Keep the fires burning dear ones and know that your creativity is appreciated. At least Cannes gave Julianne Moore best actress.
Shout outs to the hits from Italy, France, Russia, Canada, Mozambique, China, Australia, and Chile!
Shout outs to the hits from Italy, France, Russia, Canada, Mozambique, China, Australia, and Chile!
Friday, January 2, 2015
Trivial Top 10 2014 and awards consideration?
Well 2014 has come to an end and as always almost all the great adult dramas are sandwiched into the fall awards season. However this past year had a number of early surprises Boyhood and The Grand Budapest Hotel. They both were not only amazing, but have stood the test of time. The summer had the joy of Lucy and not much else. There was Von Trier's life altering Nymphomaniac part I and brick wall disappointment part II. Films at the end of the year that really struck a chord with me were Unbroken, Exodus Gods And Kings, Wild, Mr. Turner and The Homesman. My film of the year was Gone Girl!
Trivial Top 10 of Summit Cinema
1. Gone Girl
2. Boyhood
3. The Grand Budapest Hotel
4. The Homesman
5. Exodus Gods and Kings
6. Unbroken
7. Wild
8. Lucy
9. Mr. Turner
10. Nymphomaniac part I
Special award goes to Only Lovers Left Alive for the scope of Jarmusch's vampire saga set in Detroit.
Top Ten Oscar Contenders even though some are HORRIBLE!
1. Birdman- worst film of the year totally depressing
2. Selma -good but not great biopic of MLK
3. Wild- excellent acting by Reese Witherspoon
4. Imitation Game-unseen
5. Theory of Everything-unseen
6. Boyhood- 12 year opus
7. Whiplash-unseen
8. Foxcatcher- unseen
9. Inherent Vice- PTA's worst film
10. American Sniper-unseen
Happy New Year to Italy, France, Russia, Sweden, Switzerland, Austria, Germany, China, Australia, Argentina, Mexico, and Canada!
Looking forward in 2015 to Michael Mann's The Black Hat
David Croneberg's Map to the Stars
Spike Lee's Da Sweet Blood of Jesus
Werner Herzog's Queen of the Desert
Fatih Akin's In The Cut
Trivial Top 10 of Summit Cinema
1. Gone Girl
2. Boyhood
3. The Grand Budapest Hotel
4. The Homesman
5. Exodus Gods and Kings
6. Unbroken
7. Wild
8. Lucy
9. Mr. Turner
10. Nymphomaniac part I
Special award goes to Only Lovers Left Alive for the scope of Jarmusch's vampire saga set in Detroit.
Top Ten Oscar Contenders even though some are HORRIBLE!
1. Birdman- worst film of the year totally depressing
2. Selma -good but not great biopic of MLK
3. Wild- excellent acting by Reese Witherspoon
4. Imitation Game-unseen
5. Theory of Everything-unseen
6. Boyhood- 12 year opus
7. Whiplash-unseen
8. Foxcatcher- unseen
9. Inherent Vice- PTA's worst film
10. American Sniper-unseen
Happy New Year to Italy, France, Russia, Sweden, Switzerland, Austria, Germany, China, Australia, Argentina, Mexico, and Canada!
Looking forward in 2015 to Michael Mann's The Black Hat
David Croneberg's Map to the Stars
Spike Lee's Da Sweet Blood of Jesus
Werner Herzog's Queen of the Desert
Fatih Akin's In The Cut
Sunday, October 5, 2014
Gone Girl off the RICHTER SCALE!!!!………….
Dear Ladies and Gentlemen,
distinguished cinephiles and serious adult drama moviegoers, fall is here! My favorite time of year of for great cinema is here. The time when a truly great film rises to the SUMMIT. The Master, 12 years a Slave, and now drum roll please. I can't stand it when Stephanie Zacharek from the L.A. Weekly calls Fincher's latest work "too slick." She reminds me of one of those people at a concert that just stands and refuses to dance because she is too cool. Last year it was the issue that 12 years a Slave was too image based. McQueen and Fincher are heavyweight directors and she has no idea what she is talking about.
On to the film of the year. Gone Girl seems to be Fincher's most accessible film in years. I was not a huge fan of the Social Network and I thoroughly enjoyed The Girl with the Dragon Tattoo, The Curious Case of Benjamin Button, and I loved Zodiac. Gone Girl is a fusion, of Zodiac, Seven, and House of Cards. The relationship between Amazing Amy/ Amy Elliot Dunne,/ Rosamund Pike, and Nick Dunne/ Ben Affleck has all of the components of Francis Underwood/ Kevin Spacey, and Claire Underwood/ Robin Wright. However, this husband and wife dynamic is quite different than House of Cards, yet similarly in Gone Girl when both couples are behind closed doors as a viewer you feel you are truly peering into their private lives.
Nick Dunne is the average man that to quote Fincher, "His nuts are in a vice the whole time." Ironically his twin sister Go has a t-shirt with a squirrel carrying a bat and protecting acorns appearing at the beginning of the movie at the bar that reads "protect your nuts." The film has the Hitchcock sense of Roger Thornhill being chased by a crop duster and his life simultaneously falling apart. Nick Dunne is played by Ben Affleck. Affleck does an incredible job at making the viewer feel that his entire life is coming undone.
The use of flashbacks in the film was some of the best I have ever seen. The musical accompaniment of the flashbacks by Trent Reznor and Atticus Ross create a surreal dream world. Rosamund Pike will be nominated for best actress for an oscar. She appears for the first half of the movie via flashback as a ghost and she is truly amazing. She says so much with her eyes and her expressions without verbalizing anything. She haunts the first half of the film like a ghost. When I first heard about the adaptation of my favorite modern book in the last five years I thought no one could portray the essence of Amy. Rosamund Pike has done just that. Most will argue that the character is just crazy, but there are many more layers to the cake than meets the eye.
The film is essentially about marriage. Kudos to Gillian Flynn she is the best modern writer I have read in the last five years. The way Flynn as a writer chose to break the chapters from a female and male perspective was astounding. She was like a detective herself in the amount of research and time she spent in getting help from the St. Louis Police department and others. As a reader you could tell she gave it her all. I honestly thought not even Fincher could scratch the surface of the book. However, Gillian Flynn wrote the screenplay. She had to cut hundreds of pages and distill so much information, but the transfer was there. At 2:45 minutes the movie feels like Argo in terms of pace. Flynn writes in a way that makes you understand why a marriage is disintegrating in a very short period of time and how great it once was in flashbacks. The flashbacks of the matching bed sheets at the Chinese restaurant, the sugar kiss, and the bar affair kiss, as well as the murder scene and internal dialogue were my favorite parts of the film.
People will latch on to media and celebrity culture, but that has nothing to do with movie. Get it while it's hot off the grill. The film of the year and winner of best picture! Cheers to France and Russia thanx for the hits!!!
distinguished cinephiles and serious adult drama moviegoers, fall is here! My favorite time of year of for great cinema is here. The time when a truly great film rises to the SUMMIT. The Master, 12 years a Slave, and now drum roll please. I can't stand it when Stephanie Zacharek from the L.A. Weekly calls Fincher's latest work "too slick." She reminds me of one of those people at a concert that just stands and refuses to dance because she is too cool. Last year it was the issue that 12 years a Slave was too image based. McQueen and Fincher are heavyweight directors and she has no idea what she is talking about.
On to the film of the year. Gone Girl seems to be Fincher's most accessible film in years. I was not a huge fan of the Social Network and I thoroughly enjoyed The Girl with the Dragon Tattoo, The Curious Case of Benjamin Button, and I loved Zodiac. Gone Girl is a fusion, of Zodiac, Seven, and House of Cards. The relationship between Amazing Amy/ Amy Elliot Dunne,/ Rosamund Pike, and Nick Dunne/ Ben Affleck has all of the components of Francis Underwood/ Kevin Spacey, and Claire Underwood/ Robin Wright. However, this husband and wife dynamic is quite different than House of Cards, yet similarly in Gone Girl when both couples are behind closed doors as a viewer you feel you are truly peering into their private lives.
Nick Dunne is the average man that to quote Fincher, "His nuts are in a vice the whole time." Ironically his twin sister Go has a t-shirt with a squirrel carrying a bat and protecting acorns appearing at the beginning of the movie at the bar that reads "protect your nuts." The film has the Hitchcock sense of Roger Thornhill being chased by a crop duster and his life simultaneously falling apart. Nick Dunne is played by Ben Affleck. Affleck does an incredible job at making the viewer feel that his entire life is coming undone.
The use of flashbacks in the film was some of the best I have ever seen. The musical accompaniment of the flashbacks by Trent Reznor and Atticus Ross create a surreal dream world. Rosamund Pike will be nominated for best actress for an oscar. She appears for the first half of the movie via flashback as a ghost and she is truly amazing. She says so much with her eyes and her expressions without verbalizing anything. She haunts the first half of the film like a ghost. When I first heard about the adaptation of my favorite modern book in the last five years I thought no one could portray the essence of Amy. Rosamund Pike has done just that. Most will argue that the character is just crazy, but there are many more layers to the cake than meets the eye.
The film is essentially about marriage. Kudos to Gillian Flynn she is the best modern writer I have read in the last five years. The way Flynn as a writer chose to break the chapters from a female and male perspective was astounding. She was like a detective herself in the amount of research and time she spent in getting help from the St. Louis Police department and others. As a reader you could tell she gave it her all. I honestly thought not even Fincher could scratch the surface of the book. However, Gillian Flynn wrote the screenplay. She had to cut hundreds of pages and distill so much information, but the transfer was there. At 2:45 minutes the movie feels like Argo in terms of pace. Flynn writes in a way that makes you understand why a marriage is disintegrating in a very short period of time and how great it once was in flashbacks. The flashbacks of the matching bed sheets at the Chinese restaurant, the sugar kiss, and the bar affair kiss, as well as the murder scene and internal dialogue were my favorite parts of the film.
People will latch on to media and celebrity culture, but that has nothing to do with movie. Get it while it's hot off the grill. The film of the year and winner of best picture! Cheers to France and Russia thanx for the hits!!!
Thursday, August 14, 2014
Boyhood: Summer Masterpiece…..
Dear Cinephiles and soul surfers,
From the waters of Florida, Charleston, Venice Beach, and all across the world the summer at the cinema is usually bone dry. However, there has been a dramatic change to the summer filmgoing experience. I am astounded by the current best film of the year. A film that seems like viewing ten films in one.
As a lover of the art of cinema one has to admire the audacity of Richard Linklater's latest portrait of life. Linklater is originally from Texas and a lot of his personal life and soul is in this one. Known for "Slacker" "Dazed and Confused" and the "Before Trilogy". Here it seems like the film he always wanted to make all his life.
The film "Boyhood" took ten years to film and the boy Mason grows from a young kid to a college freshman before your eyes. The actual use of chronological time took the film to a completely different level. As a viewer you get to witness Mason go through many phases of life. From wanting bumper bowling, going to a baseball game with his actual Dad, becoming a photographer, camping with his father, the first girl he truly falls in love with, graduating high school and becoming a college freshman.
My favorite scenes in the movie are when he is with his father listening to the band warm up in the club and he is telling him the secrets of life and how to cope with the loss of his girlfriend. Linklater knows a certain type of dialogue better than anyone out their. I kept thinking how organic this felt watching this chemistrty. I imagined how long a rapport must of been built up between the actors after such a long time working together. They had to become like family.
The scene of Mason leaving the nest and his mother pleading to take the photo of the first one he took with his camera is a show stopper. She becomes completely naked as an artist and bears such deep feelings that I rarely feel in cinema. This is an example of what Werner Herzog would call "the ecstatic truth."
The ending is one the best I have ever seen when the girl tells Mason about the present moment that she believes "The Moment ceases us" the film instantly becomes epic.
What range, scope, and determination. Cheers to Summer and the Hits from Japan, France, Russia, and Germany.
From the waters of Florida, Charleston, Venice Beach, and all across the world the summer at the cinema is usually bone dry. However, there has been a dramatic change to the summer filmgoing experience. I am astounded by the current best film of the year. A film that seems like viewing ten films in one.
As a lover of the art of cinema one has to admire the audacity of Richard Linklater's latest portrait of life. Linklater is originally from Texas and a lot of his personal life and soul is in this one. Known for "Slacker" "Dazed and Confused" and the "Before Trilogy". Here it seems like the film he always wanted to make all his life.
The film "Boyhood" took ten years to film and the boy Mason grows from a young kid to a college freshman before your eyes. The actual use of chronological time took the film to a completely different level. As a viewer you get to witness Mason go through many phases of life. From wanting bumper bowling, going to a baseball game with his actual Dad, becoming a photographer, camping with his father, the first girl he truly falls in love with, graduating high school and becoming a college freshman.
My favorite scenes in the movie are when he is with his father listening to the band warm up in the club and he is telling him the secrets of life and how to cope with the loss of his girlfriend. Linklater knows a certain type of dialogue better than anyone out their. I kept thinking how organic this felt watching this chemistrty. I imagined how long a rapport must of been built up between the actors after such a long time working together. They had to become like family.
The scene of Mason leaving the nest and his mother pleading to take the photo of the first one he took with his camera is a show stopper. She becomes completely naked as an artist and bears such deep feelings that I rarely feel in cinema. This is an example of what Werner Herzog would call "the ecstatic truth."
The ending is one the best I have ever seen when the girl tells Mason about the present moment that she believes "The Moment ceases us" the film instantly becomes epic.
What range, scope, and determination. Cheers to Summer and the Hits from Japan, France, Russia, and Germany.
Friday, July 25, 2014
The Knick: OFF THE HOOK!
Dear Ladies and Gentleman,
Last summer at the San Francisco Film Festival Steven Soderbergh gave a long speech about the death of cinema. As one of my favorite auteurs this news was sad and troubling. He spoke of the tremendous difficulty with financing and getting artistic projects green lighted. He explained that he was retiring from the film industry. Thank Soderbergh for choosing not to stop creating. Television is the new springboard that a variety of auteurs are utilizing. David Fincher with "House of Cards," Oliver Stone with "A Peoples History", and Martin Scorsese with "Boardwalk Empire". However a fundamental difference between Soderbergh and these directors is he himself was behind the camera for every part of the creative process. Soderbergh created "Behind the Candelabra" for cable and it was a great biopic about Liberace. I am so thrilled to hear and witness Soderbergh's latest project for cable. Television seems to be the perfect avenue for a variety of esteemed talent to make serious adult dramas.
The "Knick" is a nine episode series created by Soderbergh. He directed all nine episodes personally. The "Knick" is an exhilarating joyride into scientific innovation circa 1900 New York City. The first episode hits the viewer like a fever dream. The pace is fast for a period piece. Soderbergh did not want to romanticize the time period. We meet the lead character an unflinching anti-hero Clive Owen who is determined to make innovations in medicine at all costs. Owen's character is called Dr. Thackery and he is addicted to cocaine, has bad manners, but wants to make advancements in medicine no matter what wall gets in the way. He is a character who is driven like a mad man. The themes that the "Knick" seems to address are topics like class, race, gender, and corruption. Looking at science through the lens of Dr. Thackery is fascinating for a viewer. He loves learning and knowledge and advancing medicine, yet is completely self-destructive. Only Soderbergh could create such a unique character and let him run wild. The series feels fresh and alive. I don't know what to compare it to.
At the Los Angeles County Museum of Art an early screening of episode one was a treat for myself and all whom attended. The cast and crew were in attendance as well as Soderbergh and his latest muse Clive Owen. Soderbergh stated when asked about his retirement? He responded, "What could I say I was fired up!" The script apparently got his artistic juices flowing and the wheels turning in head. The result for the audience was off the hook. Clive Owen, claimed "I was thrilled to be working with Steven, then I read the script and I asked myself how am I going to play this character for this long with this intensity?" Apparently the schedule was extremely tight and all shooting was done in three months. The second season for the "Knick" has already been green-lit with Soderbergh at the helm!
Summit Cinema wishes to thank all the hits from around the world! Japan, Italy, France, and Russia are definitely in the house!
Last summer at the San Francisco Film Festival Steven Soderbergh gave a long speech about the death of cinema. As one of my favorite auteurs this news was sad and troubling. He spoke of the tremendous difficulty with financing and getting artistic projects green lighted. He explained that he was retiring from the film industry. Thank Soderbergh for choosing not to stop creating. Television is the new springboard that a variety of auteurs are utilizing. David Fincher with "House of Cards," Oliver Stone with "A Peoples History", and Martin Scorsese with "Boardwalk Empire". However a fundamental difference between Soderbergh and these directors is he himself was behind the camera for every part of the creative process. Soderbergh created "Behind the Candelabra" for cable and it was a great biopic about Liberace. I am so thrilled to hear and witness Soderbergh's latest project for cable. Television seems to be the perfect avenue for a variety of esteemed talent to make serious adult dramas.
The "Knick" is a nine episode series created by Soderbergh. He directed all nine episodes personally. The "Knick" is an exhilarating joyride into scientific innovation circa 1900 New York City. The first episode hits the viewer like a fever dream. The pace is fast for a period piece. Soderbergh did not want to romanticize the time period. We meet the lead character an unflinching anti-hero Clive Owen who is determined to make innovations in medicine at all costs. Owen's character is called Dr. Thackery and he is addicted to cocaine, has bad manners, but wants to make advancements in medicine no matter what wall gets in the way. He is a character who is driven like a mad man. The themes that the "Knick" seems to address are topics like class, race, gender, and corruption. Looking at science through the lens of Dr. Thackery is fascinating for a viewer. He loves learning and knowledge and advancing medicine, yet is completely self-destructive. Only Soderbergh could create such a unique character and let him run wild. The series feels fresh and alive. I don't know what to compare it to.
At the Los Angeles County Museum of Art an early screening of episode one was a treat for myself and all whom attended. The cast and crew were in attendance as well as Soderbergh and his latest muse Clive Owen. Soderbergh stated when asked about his retirement? He responded, "What could I say I was fired up!" The script apparently got his artistic juices flowing and the wheels turning in head. The result for the audience was off the hook. Clive Owen, claimed "I was thrilled to be working with Steven, then I read the script and I asked myself how am I going to play this character for this long with this intensity?" Apparently the schedule was extremely tight and all shooting was done in three months. The second season for the "Knick" has already been green-lit with Soderbergh at the helm!
Summit Cinema wishes to thank all the hits from around the world! Japan, Italy, France, and Russia are definitely in the house!
Tuesday, June 17, 2014
The Rover Sizzles……...
Dear Ladies and Gentleman,
The movie The Rover from the director's fortnight at the Cannes Film Festival should have been in the running for the Palme d'Or. Director David Michod's latest feature takes the viewer to a place that is barren and undiscovered. The lens of cinematographer Natasha Braier must have had to be continually cleansed of flies, mosquitoes, dust, and vermin. The director cites at certain points he was worried about his actors dying from extreme heat. The conditions were at times 110-120 degrees. As a viewer the camera seems like it might melt. The remote outback of Southern Australia provides the perfect location for the post-apocalyptic world it's characters inhabit. The dust becomes a character that sticks to the sweat of the men and everything in it's path. The land is like a version of the American Southwest, yet stuck in Frontier history. There is not total anarchy like most post-apocalyptic movies, yet it is definitely the wild west and sci-fi bound into one. There are general stores to get canned foods, barricaded structures to obtain bullets and petrol, and karaoke bars. A broken down circus has midgets that supply fire arms.
The acting in this picture is impeccable. From the opening sequence of Guy Pearce with flies in his nose like an appendage, to the look he carries throughout, the film is a testament to an actor who can say everything with the look of his eyes. Pearce is so jaded he explains when he tells a captor, "whatever you try to kill in me died long ago." Robert Pattinson portrays the half-wit with equal power. The character's slowness is reminiscent of Lenny in Mice and Men. Just like Lenny his violence can erupt uncontrollably out of nowhere. Pearce and Pattinson form a fascinating duo for a road movie. Their is no comic relief or buddy stories along this desolate highway.
One of critics chief bones of contention with the picture is the apparent basic storyline. A man determined to locate his vehicle in a post apocalyptic world. Many critics feel this is a boring journey and way too simple. My response to these writers are they have absolutely no idea what this film is about. The car is just window-dressing for gargantuan themes like redemption, betrayal, hope, survival, depression, love, and a desperate search for meaning in a world where nothing matters.
One of the best aspects of this film is the fact that Guy Pearce never breaks character, he stays true to himself throughout. The response from crowds at the theater has been sterile. I think many did not know it was a post-apocalyptic western.
Similarities to this film and others are difficult to come by. I will attempt to list films that had the same desert tone. Oliver Stone's U-Turn, definitely jumps out at me. A character stranded in the desert town of Superior, Arizona where one bad thing happens after another. Strange characters galore in that feature as well. The Coen brothers No Country For Old Men has hints of this one as well a man alone determined to survive. In the desert of Marfa, Texas. The aftermath with dead bodies everywhere would fit perfectly into The Rover. The Hughes brothers Book of Eli is a post apocalyptic feature in the deserts of New Mexico. Denzel Washington could likely come across these characters in search for water. Australia's own Mad Max with Mad Mel Gibson comes to mind in terms of the chase sequence at the beginning.
After all these comparisons The Rover seems to be a unique animal. The film actually at times feels like a spiritual journey. Perhaps the pacing and the road seem so foreign to the United States style of film making other than the traditional western. That is perhaps what makes it stick out so much well ladies and gents catch it if you can this summer. Unfortunately I figure the film will have a short run.
The movie The Rover from the director's fortnight at the Cannes Film Festival should have been in the running for the Palme d'Or. Director David Michod's latest feature takes the viewer to a place that is barren and undiscovered. The lens of cinematographer Natasha Braier must have had to be continually cleansed of flies, mosquitoes, dust, and vermin. The director cites at certain points he was worried about his actors dying from extreme heat. The conditions were at times 110-120 degrees. As a viewer the camera seems like it might melt. The remote outback of Southern Australia provides the perfect location for the post-apocalyptic world it's characters inhabit. The dust becomes a character that sticks to the sweat of the men and everything in it's path. The land is like a version of the American Southwest, yet stuck in Frontier history. There is not total anarchy like most post-apocalyptic movies, yet it is definitely the wild west and sci-fi bound into one. There are general stores to get canned foods, barricaded structures to obtain bullets and petrol, and karaoke bars. A broken down circus has midgets that supply fire arms.
The acting in this picture is impeccable. From the opening sequence of Guy Pearce with flies in his nose like an appendage, to the look he carries throughout, the film is a testament to an actor who can say everything with the look of his eyes. Pearce is so jaded he explains when he tells a captor, "whatever you try to kill in me died long ago." Robert Pattinson portrays the half-wit with equal power. The character's slowness is reminiscent of Lenny in Mice and Men. Just like Lenny his violence can erupt uncontrollably out of nowhere. Pearce and Pattinson form a fascinating duo for a road movie. Their is no comic relief or buddy stories along this desolate highway.
One of critics chief bones of contention with the picture is the apparent basic storyline. A man determined to locate his vehicle in a post apocalyptic world. Many critics feel this is a boring journey and way too simple. My response to these writers are they have absolutely no idea what this film is about. The car is just window-dressing for gargantuan themes like redemption, betrayal, hope, survival, depression, love, and a desperate search for meaning in a world where nothing matters.
One of the best aspects of this film is the fact that Guy Pearce never breaks character, he stays true to himself throughout. The response from crowds at the theater has been sterile. I think many did not know it was a post-apocalyptic western.
Similarities to this film and others are difficult to come by. I will attempt to list films that had the same desert tone. Oliver Stone's U-Turn, definitely jumps out at me. A character stranded in the desert town of Superior, Arizona where one bad thing happens after another. Strange characters galore in that feature as well. The Coen brothers No Country For Old Men has hints of this one as well a man alone determined to survive. In the desert of Marfa, Texas. The aftermath with dead bodies everywhere would fit perfectly into The Rover. The Hughes brothers Book of Eli is a post apocalyptic feature in the deserts of New Mexico. Denzel Washington could likely come across these characters in search for water. Australia's own Mad Max with Mad Mel Gibson comes to mind in terms of the chase sequence at the beginning.
After all these comparisons The Rover seems to be a unique animal. The film actually at times feels like a spiritual journey. Perhaps the pacing and the road seem so foreign to the United States style of film making other than the traditional western. That is perhaps what makes it stick out so much well ladies and gents catch it if you can this summer. Unfortunately I figure the film will have a short run.
Friday, June 6, 2014
EDGE OF TOMORROW = Groundhog Day+Tom Cruise+Summer Popcorn Mash Up!
It's summer time movie fans. The time when serious dramas take a back seat, and popcorn mash ups drive like Mad Max with an empty oil tanker. ONE FILM THAT PACKS THE GASOLINE OF A KISS CONCERT IS EDGE OF TOMORROW!!! TOM CRUISE IS BACK!!! This is the first time since Top Gun were Cruise is back to war movie form. Giant squid aliens must defeated and who better than Cruise to come to the rescue. The Normandy beach sequence is a action packed and the best part it happens 50 times. That's right it's science fiction, war movie, and GROUNDHOG DAY! No other film will you witness Tom Cruise be killed so many times. Only to awaken to a an officer's combat boot kick and the command "wake up maggot!" The British location was awesome and Emily Blunt is stellar as the Angel of Verdun.
I think this film signifies something to me! 1980's stars and action heroes are a still the best! Tom Cruise in The Color of Money, Born on the Fourth of July, Cocktail, Top Gun. Stallone, Arnold, and Bruce Willis. 1980's stars are like Hercules holding the globe of Hollywood on their backs. The Expendables part III will have Mel Gibson and Wesley Snipes! I believe that I must be sentimental, but these stars hold charisma and more interest than the current action crop. Vin Diesel will never succeed.
For total Popcorn mash up go for the Cruise control, danger zone, of COCOMO, nine ball classic, Fourth of July spectacular! EDGE OF TOMORROW delivers the GOODS!
I think this film signifies something to me! 1980's stars and action heroes are a still the best! Tom Cruise in The Color of Money, Born on the Fourth of July, Cocktail, Top Gun. Stallone, Arnold, and Bruce Willis. 1980's stars are like Hercules holding the globe of Hollywood on their backs. The Expendables part III will have Mel Gibson and Wesley Snipes! I believe that I must be sentimental, but these stars hold charisma and more interest than the current action crop. Vin Diesel will never succeed.
For total Popcorn mash up go for the Cruise control, danger zone, of COCOMO, nine ball classic, Fourth of July spectacular! EDGE OF TOMORROW delivers the GOODS!
Sunday, May 18, 2014
The Immigrant: throws down the Gauntlet!
Greetings from the Cannes Film Festival. Summit Cinema has been underwhelmed by Grace of Monaco. We look forward to Cronenberg's Map to the Stars. It was necessary to go back to last year's film that threw down the Gauntlet and has practically slipped through the fingers of stateside distribution. God bless the French! For honoring cinema and not turning Cannes into Comic-Con.
Thanks to France for their national treasure Marion Cotillard in her latest tour-de force performance. On Ellis Island circa 1921 she portrays Ewa Cybulska a Polish immigrant. Standing waiting in line for inspection with her sister to get access to the promise land is Ewa. She is spotted by Bruno portrayed by the shape shifting Joaquin Phoenix. Phoenix is one of the best actor's working. It's as if he traps Cotillard in a web under his black cloak. He psychologically manipulates her, uses her, and makes her a creature of the night. However, Bruno is not your usual villain. Like Paul Thomas Anderson's Daniel Plainview portrayed so masterfully by Daniel Day Lewis. Their are rays of light that exist in Bruno's icy heart. When most actors would be asked to play the part of Bruno they would run for the hills. Phoenix throws himself fearlessly at the part without resignation.
To watch the alchemy of Jeremy Renner juxtaposed with the harshness of Phoenix is like to completely different roads and worlds presented to Ewa. She is pulled in a tug-of-war between the two even though logic would tell any sane women otherwise.
The director in this film is James Gray. We Own the Night and Two Lovers are previous collaborations with Phoenix. The bond that the director and lead actor have for this motion picture shows. They seem to very comfortable with one another and this allows for Phoenix to take continual risks. Marion Cotillard is in top form. La Vie en Rose and Rust and Bone were two films that showed her range as an actress. Here in The Immigrant she has the look of someone who burns a candle of virtue in their heart even when they are surrounded by both vile people and environment. The scene of her wearing the shawl in the confessional is mystifying. That scene is a testament to her as an actress. I can think of very few actors out there that could deliver those lines in the confessional with that emotion. Simultaneously watching Phoenix eavesdropping on her without saying a word, just his eyes say it all.
The film is expertly directed and crafted. Segments of the film were actually done on Ellis Island. The film poses a number of moral dilemmas. When the audience comes out of the theater people had different interpretations. The film is complex is Bruno pure evil? Is Orlando pure good? Is Ewa a saint forced in difficult circumstances? What would you have done? Is family that important? How important is morality?
When a film leaves an audience questioning themselves and ideas ruminating this is the sign of great art. The director claims he was influenced by the dramatic emotions of opera, what a refreshing idea. The film didn't come from Facebook, Instagram, Twitter, or You Tube, or a Comic Book. Being bold and going for the jugular is so refreshing! Sadly this film is being screened in two theaters and won't get an expanded release. Bless the French for honoring art=cinema and Marion Cotillard!
Thanks to France for their national treasure Marion Cotillard in her latest tour-de force performance. On Ellis Island circa 1921 she portrays Ewa Cybulska a Polish immigrant. Standing waiting in line for inspection with her sister to get access to the promise land is Ewa. She is spotted by Bruno portrayed by the shape shifting Joaquin Phoenix. Phoenix is one of the best actor's working. It's as if he traps Cotillard in a web under his black cloak. He psychologically manipulates her, uses her, and makes her a creature of the night. However, Bruno is not your usual villain. Like Paul Thomas Anderson's Daniel Plainview portrayed so masterfully by Daniel Day Lewis. Their are rays of light that exist in Bruno's icy heart. When most actors would be asked to play the part of Bruno they would run for the hills. Phoenix throws himself fearlessly at the part without resignation.
To watch the alchemy of Jeremy Renner juxtaposed with the harshness of Phoenix is like to completely different roads and worlds presented to Ewa. She is pulled in a tug-of-war between the two even though logic would tell any sane women otherwise.
The director in this film is James Gray. We Own the Night and Two Lovers are previous collaborations with Phoenix. The bond that the director and lead actor have for this motion picture shows. They seem to very comfortable with one another and this allows for Phoenix to take continual risks. Marion Cotillard is in top form. La Vie en Rose and Rust and Bone were two films that showed her range as an actress. Here in The Immigrant she has the look of someone who burns a candle of virtue in their heart even when they are surrounded by both vile people and environment. The scene of her wearing the shawl in the confessional is mystifying. That scene is a testament to her as an actress. I can think of very few actors out there that could deliver those lines in the confessional with that emotion. Simultaneously watching Phoenix eavesdropping on her without saying a word, just his eyes say it all.
The film is expertly directed and crafted. Segments of the film were actually done on Ellis Island. The film poses a number of moral dilemmas. When the audience comes out of the theater people had different interpretations. The film is complex is Bruno pure evil? Is Orlando pure good? Is Ewa a saint forced in difficult circumstances? What would you have done? Is family that important? How important is morality?
When a film leaves an audience questioning themselves and ideas ruminating this is the sign of great art. The director claims he was influenced by the dramatic emotions of opera, what a refreshing idea. The film didn't come from Facebook, Instagram, Twitter, or You Tube, or a Comic Book. Being bold and going for the jugular is so refreshing! Sadly this film is being screened in two theaters and won't get an expanded release. Bless the French for honoring art=cinema and Marion Cotillard!
Saturday, April 12, 2014
Only Lovers Left Alive: romantic decay
Jim Jarmusch's latest Only Lovers Left Alive takes the viewer on an abandoned romantic journey across oceans and over centuries. From the start of the feature the mood is established. A vinyl record is spinning and the camera swirls around in an overhead shot of the two leads in different locations. The tone is gothic and mysterious. Jarmusch brilliantly uses a deserted Detroit and the exotically dark Tangiers to magnify the vampire characters. Tom Hiddleston portrays Adam who is a rock musician and has the privilege of working with some of the finest musicians over the last three hundred years. However, he is a character whom is haunted and estranged from contemporary society. Jarmusch himself has been known to believe fervently that in modern day society, many people have absolutely no idea what is going on. Only Lovers Left Alive mirrors that ideology to T. To further establish the point Hiddleston continually refers to people as zombies. Tilda Swinton plays Eve who is a lover of the written word, music, and discovering the new over time. They both use leather gloves to keep their fingerprints from showing up in public. The amount of vampire feasting in the feature is at a bare minimum. Instead the two operate like drug addicts having to get a legal fix of methadone. Mia Wasikowska's character Ava is fantastic at being the wild card sister of Tilda. To watch her unravel the lifestyle of Tilda and Tom is truly hilarious. Mia represents a younger vampire who wants to behave wild and raise hell. While Tilda and Tom are very much academic intellectuals. The pair play chess, visit old architecture, and listen to music. Many of the couple's conversations are highly existential and deal with subjects like art, science, and literature. The irony of the film is that they are vampires. The usual tropes of vampires are usually horror and fantasy based. These are fully developed characters who breathe, almost like they have a birth defect.
In analyzing and comparing this picture to some of Jarmusch's other work it becomes apparent that the film most closely resembles two films, Dead Man in 1995 and most recently Limits of Control in 2009.
The frontier town of Machine in Dead Man is strange and foreboding in much the same way as Detroit. Dead Man has a major similarity to Only Lovers Left Alive, in which Jarmusch radically alters the genre. Dead Man takes the western and turns the genre into a surreal adventure story. Only Lovers Left Alive goes from being a horror film to a an academic, sociological, and romantic story. Similarly Limits of Control starring Isaach De Bankole is not a typical gangster film. The structure of that movie is quite nonlinear and the pacing is quite slow just like Only Lovers Left Alive. Jarmusch's pacing always stands out over the years because his characters never seem to be in a rush and watching the dialogue and interactions between them seems refreshingly organic.
In many ways the film could have started at any section and picked up somewhere else all bound together like a jigsaw puzzle like Pulp Fiction. The journeys of Jarmusch's last two features far exceed the destination. Sink your teeth into it.
In analyzing and comparing this picture to some of Jarmusch's other work it becomes apparent that the film most closely resembles two films, Dead Man in 1995 and most recently Limits of Control in 2009.
The frontier town of Machine in Dead Man is strange and foreboding in much the same way as Detroit. Dead Man has a major similarity to Only Lovers Left Alive, in which Jarmusch radically alters the genre. Dead Man takes the western and turns the genre into a surreal adventure story. Only Lovers Left Alive goes from being a horror film to a an academic, sociological, and romantic story. Similarly Limits of Control starring Isaach De Bankole is not a typical gangster film. The structure of that movie is quite nonlinear and the pacing is quite slow just like Only Lovers Left Alive. Jarmusch's pacing always stands out over the years because his characters never seem to be in a rush and watching the dialogue and interactions between them seems refreshingly organic.
In many ways the film could have started at any section and picked up somewhere else all bound together like a jigsaw puzzle like Pulp Fiction. The journeys of Jarmusch's last two features far exceed the destination. Sink your teeth into it.
Friday, March 14, 2014
The Grand Budapest Hotel Enthralls ………
As Spring is on the cusp dear cinephiles, I would like to welcome guests from around the globe into the lobby of MR. WES ANDERSON'S WORLD. Distinguished representatives from Austria,
Germany, France, Russia, The United Kingdom, Bulgaria, Ukraine, Greece, Romania, Czech Republic, Hungary, Spain, Italy, Poland, Belgium, Georgia, Norway, Sweden, Finland, Estonia, Latvia, Serbia, Moldavia, Kazakhstan, Denmark, Portugal, Iceland, India, Mozambique, and last but not least ZUBROWKA.
The doors of perception have been regally opened by an auteur whom creates hallways that lead to a treasure trove of visual decadence. ZUBROWKA created by Anderson is a state a mind. A location that has associations with Austro-Hungarian history yet is a world all of it's own. ZUBROWKA is the location of The Grand Budapest Hotel. A snow globe of perfume scented wall paper, Kubrickian red elevators, and pink Mendl pastry boxes. The look of the film is a pleasure cake for the viewer. The Life Aquatic, The Royal Tenenbaums, and most recently Moonrise Kingdom all have been visually amazing, yet The Grand Budapest Hotel takes it to a whole another level of aristocratic European heights. The 1968 orange colors of the common property hotel are communistic. Watching the hotel transform from the Communist Era to it's 1930's hey day is stunning.
The acting in this film is best of any of director Wes Anderson's yet. Ralph Fiennes takes the helm of the movie playing a concierge named Gustave H. His performance is quite exceptional. Fiennes portrayal of Gustave is a mix of Anthony Hopkins in Remains of the Day and the Marx Brothers. His acting is Shakespearean, Method, and Screwball all interwoven. Tony Revolori portrays Zero. Tony is the lobby boy for Fiennes. The father son dynamic between these two lonely men is amazing. Both don't have any family. Revolori has never acted before and is just a teen. He goes toe to toe with Fiennes and compliments him perfectly. The two work in a similar way as Leonardo Dicaprio and Jonah Hill in The Wolf of Wall Street. In both films it is important to note that the extreme characters of Jordan Belfort and Gustave H can't be built without key supporting roles. The rest of the acting in the film is amazing the A-list actors that appeared in this film for such short sequences is quite unusual. Bill Murray, Tilda Swinton, Owen Wilson, Lea Seydoux, Jason Schwartzman, Jude Law, Saoirise Ronan, Edward Norton and if I didn't stop it would go on till every one seated in the Vienna Opera House is named.
My personal favorite characters were Jeff Goldblum as Deputy Kovacs, Harvey Keitel as Ludwig, and Willem Dafoe as Jopling.
Jeff Goldblum shines as a lawyer called Deputy Kovacs. The scene of Kovacs reading the will in the Bavarian room with mounted heads and relatives is priceless.
Harvey Keitel portrays a prisoner named Ludwig and his monologue to Gustave about the situation and necessary steps for escape is hysterical. Keitel's shaved head and tattoos are fantastic. The prison break sequence is one of the best choreographed scenes since the long takes of entering the club in Paul Thomas Anderson's Boogie Nights and going through the kitchen to get to the table at the restaurant in Scorsese's Goodfellas.
Willem Dafoe knows how to play the strange and unusual like no other. From Bobby Peru in Lynch's Wild at Heart, He in Von Trier's Antichrist, Jesus in Scrosese's The Last Temptation of Christ, Sgt. Elias in Stone's Platoon, man is he a chameleon. Add Jopling in The Grand Budapest Hotel to this list. We first meet him at the announcement of the will. He is is clenching his fists that are covered with skull rings. He wears black leather spats and has a long black leather trench coat. Inside the coat is a hand made slot for his flask and pistol. The perfect villain who rides a motorcycle and goes alpine skiing.
At the end of The Grand Budapest Hotel the viewer will feel like they have run a race through history and become connected to the personal lives off all those involved. Wes Anderson has been condemned by many critics in the past for creating stellar visuals and poor story. Exquisite wall paper over plot. I find this criticism to be unjust. I do however see how so many agree that this film is an exception for them. The natural rhythm and nature of a hotel is transient. So the characters even if they are short parts and not entirely connected by dialogue or have huge character development it works because they are all part of the ZUBROWKA world. A world in which a Hotel is the centerpiece and as everyone knows it is hard to feel at home in a hotel. Yet Fiennes, Revolori, and Ronan become a beautiful family in one.
As Spring is on the cusp dear cinephiles, I would like to welcome guests from around the globe into the lobby of MR. WES ANDERSON'S WORLD. Distinguished representatives from Austria,
Germany, France, Russia, The United Kingdom, Bulgaria, Ukraine, Greece, Romania, Czech Republic, Hungary, Spain, Italy, Poland, Belgium, Georgia, Norway, Sweden, Finland, Estonia, Latvia, Serbia, Moldavia, Kazakhstan, Denmark, Portugal, Iceland, India, Mozambique, and last but not least ZUBROWKA.
The doors of perception have been regally opened by an auteur whom creates hallways that lead to a treasure trove of visual decadence. ZUBROWKA created by Anderson is a state a mind. A location that has associations with Austro-Hungarian history yet is a world all of it's own. ZUBROWKA is the location of The Grand Budapest Hotel. A snow globe of perfume scented wall paper, Kubrickian red elevators, and pink Mendl pastry boxes. The look of the film is a pleasure cake for the viewer. The Life Aquatic, The Royal Tenenbaums, and most recently Moonrise Kingdom all have been visually amazing, yet The Grand Budapest Hotel takes it to a whole another level of aristocratic European heights. The 1968 orange colors of the common property hotel are communistic. Watching the hotel transform from the Communist Era to it's 1930's hey day is stunning.
The acting in this film is best of any of director Wes Anderson's yet. Ralph Fiennes takes the helm of the movie playing a concierge named Gustave H. His performance is quite exceptional. Fiennes portrayal of Gustave is a mix of Anthony Hopkins in Remains of the Day and the Marx Brothers. His acting is Shakespearean, Method, and Screwball all interwoven. Tony Revolori portrays Zero. Tony is the lobby boy for Fiennes. The father son dynamic between these two lonely men is amazing. Both don't have any family. Revolori has never acted before and is just a teen. He goes toe to toe with Fiennes and compliments him perfectly. The two work in a similar way as Leonardo Dicaprio and Jonah Hill in The Wolf of Wall Street. In both films it is important to note that the extreme characters of Jordan Belfort and Gustave H can't be built without key supporting roles. The rest of the acting in the film is amazing the A-list actors that appeared in this film for such short sequences is quite unusual. Bill Murray, Tilda Swinton, Owen Wilson, Lea Seydoux, Jason Schwartzman, Jude Law, Saoirise Ronan, Edward Norton and if I didn't stop it would go on till every one seated in the Vienna Opera House is named.
My personal favorite characters were Jeff Goldblum as Deputy Kovacs, Harvey Keitel as Ludwig, and Willem Dafoe as Jopling.
Jeff Goldblum shines as a lawyer called Deputy Kovacs. The scene of Kovacs reading the will in the Bavarian room with mounted heads and relatives is priceless.
Harvey Keitel portrays a prisoner named Ludwig and his monologue to Gustave about the situation and necessary steps for escape is hysterical. Keitel's shaved head and tattoos are fantastic. The prison break sequence is one of the best choreographed scenes since the long takes of entering the club in Paul Thomas Anderson's Boogie Nights and going through the kitchen to get to the table at the restaurant in Scorsese's Goodfellas.
Willem Dafoe knows how to play the strange and unusual like no other. From Bobby Peru in Lynch's Wild at Heart, He in Von Trier's Antichrist, Jesus in Scrosese's The Last Temptation of Christ, Sgt. Elias in Stone's Platoon, man is he a chameleon. Add Jopling in The Grand Budapest Hotel to this list. We first meet him at the announcement of the will. He is is clenching his fists that are covered with skull rings. He wears black leather spats and has a long black leather trench coat. Inside the coat is a hand made slot for his flask and pistol. The perfect villain who rides a motorcycle and goes alpine skiing.
At the end of The Grand Budapest Hotel the viewer will feel like they have run a race through history and become connected to the personal lives off all those involved. Wes Anderson has been condemned by many critics in the past for creating stellar visuals and poor story. Exquisite wall paper over plot. I find this criticism to be unjust. I do however see how so many agree that this film is an exception for them. The natural rhythm and nature of a hotel is transient. So the characters even if they are short parts and not entirely connected by dialogue or have huge character development it works because they are all part of the ZUBROWKA world. A world in which a Hotel is the centerpiece and as everyone knows it is hard to feel at home in a hotel. Yet Fiennes, Revolori, and Ronan become a beautiful family in one.
Saturday, February 1, 2014
Labor Day Ushers In New Year
Happy Chinese New Year distinguished cinephiles, shout outs to Greece, Russia, France, India, and the United Kingdom for the hits. This is the year of the horse! The year the DENVER BRONCOS will win SUPERBOWL 48! 2014 where does the time go? As David Lynch would say it is strange. Love is so strange.
Today I had the privilege and honor of watching Jason Reitman's latest film. When Kate Winslet said in an interview that this was her favorite love story she has ever been a part it peeked my interest. She was perfect at playing a depressed single mother. At the inception she seems dead to the world and unable to function in society. The look of the film is excellent. Small town east coast. The film takes place in a Massachusetts. The story is simple yet great. A lonely woman and an ex-convict are forced to be together. However, the magic exists in the acting between the two actors. Kate Winslet completely comes alive and looks like a different person in the film once she falls in love. Josh Brolin is fantastic at being dark and mysterious. While, simultaneously he is a amazing cook, mentor, and handy man. The scene of the family baking a peach pie together is a show stopper. The hunger and the passion of medieval romance is so refreshing to see in a motion picture. I feel that all too often the magic is dissipated. The fact that the film takes place in 1987 is a key element. The family actually spends time together engaging in baseball, eating food, and relaxing on the porch. It takes place in the summer time helps create a feeling of heated romance. Kate Winslet portrays someone whom is very much a prisoner of her own life and Brolin is a prisoner. However, the two bring out the best of each other in a remarkably beautiful way. Gattlin Griffith portrays the son of Winslet. The character is so well written for a kid. I credit Reitman with having the gravitas to create a young person with so much depth. In many ways he is more socially stable than his mother. However, watching Winslet blossom during the course of the film then wilt is awe inspiring.
Reitman's on a hot streak JUNO, UP IN THE AIR, YOUNG ADULT, LABOR DAY!
Go see a film that is unlike so many this year of the horse. Go Broncos!
Today I had the privilege and honor of watching Jason Reitman's latest film. When Kate Winslet said in an interview that this was her favorite love story she has ever been a part it peeked my interest. She was perfect at playing a depressed single mother. At the inception she seems dead to the world and unable to function in society. The look of the film is excellent. Small town east coast. The film takes place in a Massachusetts. The story is simple yet great. A lonely woman and an ex-convict are forced to be together. However, the magic exists in the acting between the two actors. Kate Winslet completely comes alive and looks like a different person in the film once she falls in love. Josh Brolin is fantastic at being dark and mysterious. While, simultaneously he is a amazing cook, mentor, and handy man. The scene of the family baking a peach pie together is a show stopper. The hunger and the passion of medieval romance is so refreshing to see in a motion picture. I feel that all too often the magic is dissipated. The fact that the film takes place in 1987 is a key element. The family actually spends time together engaging in baseball, eating food, and relaxing on the porch. It takes place in the summer time helps create a feeling of heated romance. Kate Winslet portrays someone whom is very much a prisoner of her own life and Brolin is a prisoner. However, the two bring out the best of each other in a remarkably beautiful way. Gattlin Griffith portrays the son of Winslet. The character is so well written for a kid. I credit Reitman with having the gravitas to create a young person with so much depth. In many ways he is more socially stable than his mother. However, watching Winslet blossom during the course of the film then wilt is awe inspiring.
Reitman's on a hot streak JUNO, UP IN THE AIR, YOUNG ADULT, LABOR DAY!
Go see a film that is unlike so many this year of the horse. Go Broncos!
Sunday, December 29, 2013
Wolf of Wall Street HOWLS!!!
Dear distinguished cinephiles,
The final moments of 2013 are approaching. Mr. Martin Scorsese has gone back to his roots and delivered his best since "Casino." Think "Casino" meets "Wall Steet." Gordon Gekko intertwined with Ace Rothstein. The memoir by Jordan Belfort is equally rewarding. I had serious doubts that the book could be adapted. Credit to Scorsese for executing it perfectly. Rodrigo Prieto's cinematography captures the pinks and yellows of the late 80's and early 90's on point. The colors reminded me of
Sofia Coppola's "Bling Ring" and Michael Mann's "Miami Vice". Jonah Hill's clothing, the bikini's at the Long Island Beach house, the yacht, and European sequences in Switzerland and Italy were all popping off the screen. The picture clocks in at three hours, but seems like a fever dream.
The film like the memoir encapsulates the emotion of excess. Ferraris, rolex watches, designer
suits, diamonds, piles of physical money, sex, cocaine, ludes, and insanity. The film makes Jordan Belfort look like Jay-Z mixed with Gordon Gekko on steroids. He buys a yacht then rebuilds it to fit his helicopter. Scorsese achieved this with Ace Rothstein and Nicky Santoro. This time it is Jordan Belfort and Donnie. Unlike Casino in which the mob is running a Las Vegas Casino with Joe Pesci as muscle, instead of murder Dicaprio is a white collar criminal who along with Jonah Hill are stripping the American public of millions without murder.
In looking at acting Dicaprio dives into the film off the top diving board. He makes Michael Douglas as Gordon Gekko look tame. Dicaprio seems both maniacal and driven beyond belief. I believe it is his best work since "Aviator." The fact that he was Jay Gatsby and Calvin Candie in such a short time period is just a testament to his range as an actor. I am so pleased he has yet to be a super hero or do a sequel. He plays the wolf with a roar that is amazing. He builds a firm of blood thirsty brokers and in terms of excess there couldn't be more. The film seems to be a study in excess and power. Given the opportunity to leave honorably with millions he instead opted out to go to club fed for three years and be a self help speaker. He has an all or nothing personality, which for a cinema goer is fascinating to watch. Just like Casino there is no way that Stratton Oakmont is going to survive without imploding.
The scenes of him talking to the brokers with the microphone defines his core and who he really is. He enjoys creating a circus and being a ringleader. The humor in the film is hysterical and has the tone of a black comedy. Audiences are divided about the humor, but personally I practically fell out of my seat multiple times.
Movies are always subjective and a question of taste. Many will be displeased with this film. I love that Scorsese has gone back to form and taken a risk. The fact that he almost did not have final cut because it was 3 hours is a travesty. This is the creator of MEAN STREETS. What is happening in the world when Scorsese almost doesn't have final cut? Well Summit Cinema is going to keep on rocking the last remaining moments of 2013 at the theater. Shout out to the hits from France, Latvia, Canada, Russia, Vietnam, India, Korea, Australia, the United Kingdom, Tanzania, and Chile.
Break a champagne bottle on the bow of the yacht for MARTIN SCORSE he did it again in 2013!!!
The final moments of 2013 are approaching. Mr. Martin Scorsese has gone back to his roots and delivered his best since "Casino." Think "Casino" meets "Wall Steet." Gordon Gekko intertwined with Ace Rothstein. The memoir by Jordan Belfort is equally rewarding. I had serious doubts that the book could be adapted. Credit to Scorsese for executing it perfectly. Rodrigo Prieto's cinematography captures the pinks and yellows of the late 80's and early 90's on point. The colors reminded me of
Sofia Coppola's "Bling Ring" and Michael Mann's "Miami Vice". Jonah Hill's clothing, the bikini's at the Long Island Beach house, the yacht, and European sequences in Switzerland and Italy were all popping off the screen. The picture clocks in at three hours, but seems like a fever dream.
The film like the memoir encapsulates the emotion of excess. Ferraris, rolex watches, designer
suits, diamonds, piles of physical money, sex, cocaine, ludes, and insanity. The film makes Jordan Belfort look like Jay-Z mixed with Gordon Gekko on steroids. He buys a yacht then rebuilds it to fit his helicopter. Scorsese achieved this with Ace Rothstein and Nicky Santoro. This time it is Jordan Belfort and Donnie. Unlike Casino in which the mob is running a Las Vegas Casino with Joe Pesci as muscle, instead of murder Dicaprio is a white collar criminal who along with Jonah Hill are stripping the American public of millions without murder.
In looking at acting Dicaprio dives into the film off the top diving board. He makes Michael Douglas as Gordon Gekko look tame. Dicaprio seems both maniacal and driven beyond belief. I believe it is his best work since "Aviator." The fact that he was Jay Gatsby and Calvin Candie in such a short time period is just a testament to his range as an actor. I am so pleased he has yet to be a super hero or do a sequel. He plays the wolf with a roar that is amazing. He builds a firm of blood thirsty brokers and in terms of excess there couldn't be more. The film seems to be a study in excess and power. Given the opportunity to leave honorably with millions he instead opted out to go to club fed for three years and be a self help speaker. He has an all or nothing personality, which for a cinema goer is fascinating to watch. Just like Casino there is no way that Stratton Oakmont is going to survive without imploding.
The scenes of him talking to the brokers with the microphone defines his core and who he really is. He enjoys creating a circus and being a ringleader. The humor in the film is hysterical and has the tone of a black comedy. Audiences are divided about the humor, but personally I practically fell out of my seat multiple times.
Movies are always subjective and a question of taste. Many will be displeased with this film. I love that Scorsese has gone back to form and taken a risk. The fact that he almost did not have final cut because it was 3 hours is a travesty. This is the creator of MEAN STREETS. What is happening in the world when Scorsese almost doesn't have final cut? Well Summit Cinema is going to keep on rocking the last remaining moments of 2013 at the theater. Shout out to the hits from France, Latvia, Canada, Russia, Vietnam, India, Korea, Australia, the United Kingdom, Tanzania, and Chile.
Break a champagne bottle on the bow of the yacht for MARTIN SCORSE he did it again in 2013!!!
Saturday, November 23, 2013
Alexander Payne's Amazing Nebraska!
Dear Thanksgiving Cinema viewers, The French and the their love of cinema, Russia, Latvia, Malaysia, Vietnam, Korea, and India. Summit Cinema has to take a step back and swallow some humble pumpkin pie. 12 Years a Slave will be my favorite film of 2013, but as a cinephile it is vital not to snub amazing work when it hasn't been screened and for this I truly apologize. 12 years a Slave was not screened at Cannes, but Spielberg and the jury picked two amazing films to be honored. "Blue is the Warmest Color" is an awe inspiring tour de force fully deserving the Palme d'Or. Like wise the Cannes film festival awarded Mr. Bruce Dern best actor for Nebraska and his subtle performance which is mind blowing.
It's Thanksgiving week in America and today I went to the cinema with my father. This happens about once a year if I am lucky. We sat together with a large popcorn and waited to be blind sided by Nebraska. This cinematic miner's cart was loaded with humor and deep emotion from the heartland in America. I love road stories whether it's "Badlands" "Wild at Heart" "Into the Wild" "Bonnie and Clyde" "True Romance" "National Lampoons Vacation". Seeing America captured on film and covering regions that becomes characters of their own is fascinating.
The look of Nebraska is simple, pure, and sticks to the ribs. Black and White is utilized wonderfully. The towns of boarded up main streets and a solitary tavern speak volumes for our nation's economy and psyche. The broken down ranch house where Dern grew up is sad and beautiful. The heartland on the screeen evokes a powerful sense of place. The "Last Picture Show" and "The Straight Story" are two films that evoke similar feelings.
The million dollar sweepstake earnings promised to Dern is a symbol of Hope. No matter it's legitimacy he is determined to travel the distance of 4 states to collect. Dern captures the walking of a senile man with dementia seamlessly. Whenever we see him walking on the side of the road he seems almost biblically determined. He fades in out of obscurity through out the film. A variety of responses occur when his son Will Forte calls him. He say's DAD! And Dern finally responds through out the film as if he were dreaming in the clouds. The humor of the film is a backbone. The brothers, the mother, ex lover, and former best friend are all hilarious.
The relationship with Father and Son on the road is beautiful. The son realizes that keeping the dream alive for the father is vitally important and will go to any length achieve this goal. From looking for his dentures on the train tracks to driving him across multiple states. The son wants his father's respect. He also wants to discover who his Father truly was. But also the son needs to heal himself and get out the rut he has dug himself into in Montana and his personal relationship that ended with a girl who has recently moved out of his apartment.
The road offers both the opportunity to analyze life and get to the essence of what it's really about.
Me and my father laughed loudly through out the feature. When the son buy's Dern a compressor and allows him to drive down main street in a new pickup , me and my Pop's were crying.
Happy Thanksgiving! Thank You Alexander Payne! Thanks to all the hits from across the Globe especially, Russia, France, Australia, Kenya, and Malaysia. Keep on Grooving and keeping Cinema ALIVE!
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