Showing posts with label film. Show all posts
Showing posts with label film. Show all posts
Winter Wintalf-a-bet
Living in the northern states, and enjoying the winter, takes a certain mindset. While I do not live north of the US-Canada border, every sentiment and insight succinctly spewed (in the above Letterkenny three-minute video clip) isn't spurious and should satisfy. Seriously.
While 2021 has my spouse currently watching every season, I—on the other mitten—have caught a few clips and greatly appreciate its/it's amazing writing, but find some element of my brain's wiring prevents me from feeling almost all of the funny.
I don't think my sense of humor is governed by my Asperger's, but maybe some element of qualifying membership in nefnd holds my humor sensing device hostage behind my continual attempt to concentrate on catching every quip as they blur past my slow-on-the-uptake grey matter. This is not new to me. My comedic radar has been on a three-to-five second delay my entire life. I rarely am the first to get the joke and I'm absolutely never able to be quick-sarcastic or in lock-step with your double-entendres.
If the above clip happens to tickle your funny bone in a manner you find satisfying—then, allow this to be my "you're welcome"—there are 61 episodes available for you to binge (as of Dec 2020) on hulu.
'Don't have hulu,' you say? We're stream-cherry-pickers. We have (or have had) almost all of them. BUT. We pause, unsubscribe, and cancel them all on a rotating basis. I cancel Amazon Prime for months at a time and then re-subscribe. I cancel hulu every three months (3 months off / 1 month on). You get the picture. As soon as we spend too much time searching? Cancel. Paused. Unsubscribed. And then Uncancel/unpause/subscribe to a different "channel". I find this saves us about a c-note/benfranky/hunnabukz a month. Again, you are most welcome.
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Arthouse Bizarre Convoluted Dark Films (ABCD Films)
Continuing the theme from Chasing Svelte (films from 2005-2008) I provide eight of the most convolutedly-bizarre, dark-humor films of all time (as of 2019). These ABCD Films are not in alphabetical order, best-to-worst, or oldest-to-most recent; they are in my recommended viewing/re-viewing order, which is referred to as mix tape order (explained by Rob Gordon in the very non-bizarre film High Fidelity).
If you are unfamiliar with this cross-genre niche, welcome to discovering something you will either love or hate.
Rubber is the first on this list because it rolls somewhere between unexpectedly-strange and oddly-hilarious. Why do the characters speak English in this French-Angolan film? No reason. If Rubber is too surreal and unsettling (even though all great films, without exception, contain an important element of no reason) then you have already learned not to keep watching down this list.
Bad Boy Bubby is so much more of everything (which is why it's in the #2 spot). This underground, extremely-dark Australian comedy contains some thought-provokingly disturbing imagery and very adult situations. Not mainstream horror, but a few scenes fall so far outside "normal film standards" that viewers who enjoy it are confirmed ABCD film lovers. (Rough-experimenal in technical quality.) 
Allegro non troppo, an animated Italian musical formatted like Fantasia, is insightful, humorous, and consistently off-kilter. Familiarity with the Disney film isn't a prerequisite. The six shorts, accompanied by classical music, are sandwiched between strange live sequences with subtitles. "Man's origin" set to Ravel's Boléro is permanently wedged in my monkey brain. (Suitable for mature children.) 
The Brand New Testament, a French-Belgian odd-quirky comedy, is much more main-stream than the films which precede it because "quality mix tape order" requires a softening lull and this begins the less-intense midpoint. The next few are still ABCD films, but some leave less room for interpretation; less room for thinking; less room for discussion.
eXistenZ is Cronenburg at his Cronenburgiest (I mention because some are overly confused/put-off by his films). It's as if Nolan's Inception was melted into Spielburg's Minority Report with a flamethrower—only with creatures grabbed from inside and put outside. Watch it (again?) but don't focus on the when-did-that-what-happen. Think about the subtexts. 
John Dies At the End is delectably detestably (thank you word-suggest) debatably similar to the previous two (buoying-down/anchoring-up the slightly more Hollywoodish midpoint of this list) only John Dies At the End has significantly more sauce, overt philosophy, and abstruse wordplay (when you come across a new word for the very first time in your life you'll always read or hear it again within twenty-four hours).
Eraserhead intentionally makes empathic viewers uncomfortable in a myriad of ways. That is its gift. (Those querulously confused, lost, and/or befuddled are more-than-likely the opposite of an empath.) This is the penultimate ABCD film: second-most experimental (behind Bad Boy Bubby); second-oldest (behind Allegro non troppo) and second-to absolute most surreal.
Gozu is a Japanese film (subtitles) with a Yakuza enforcer central character, but it's not an action/suspense film; it's engorged with dark humor, but it shouldn't be placed in the comedy genre; and it gushes with whatdidIjustsee (normally labelled horror) but doesn't fit comfortably in that skin. Gozu will be tattooed into your long term memory. It's overwhelming grand finale pushes the bizarre out. All the way out.Chasing Svelte - Films From the mid-2000s
Chasing is the opposite of repoussé, which is a metalworking technique in which a malleable metal is shaped by hammering from the reverse side. The two are used in conjunction to create a finished piece. While repoussé is used to work on the reverse of the metal to form a raised design on the front, chasing is used to refine the design on the front of the work by sinking the metal. The term chasing is derived from the noun "chase," which refers to a groove, furrow, channel or indentation.
Svelte is an adjective denoting something which is judged to be attractively or gracefully slim by the viewer; slender in figure, or lithe.
But what does all this have to do with films you ask?
Following the premise: as a small part goes, so goes the whole (used to infer—maybe, correctly—that if American banks crumble, so will our entire country) the current Climate of American Civilization And Society (CACAS) can be measured by examining a microcosm within the CACAS and I am going to examine: film.
First, some back-story: hundreds of films are released every month. Most are 'direct to DVD' (this includes dozens of TV series, both old and new); a small few are wide-released (in thousands of theaters); some receive a limited-release (if they make money, they may later be wide-released). It is important to remember that all of these films employ hundreds-of-thousands (millions, world-wide) of people... from the lowly, ticket-taker at the single-screen, second-run, downtown, art-theater, to the mega-millionaire-family of Pitt-Jolie. Yes. We... who know films, and love them, and know the films-we-love, tend NOT to focus on business and only discuss the art, story, acting, and that ever-elusive quality, which makes good film different from bad movies.
The makers of movie-money are 'chasing svelte' by tooling the final product (in most cases: a ninety-minute one) until they have about a ninety-second slim, attractive, excerpt. This small preview, commonly referred to as a 'trailer' even though they have not followed the feature presentations for 50+ years, is more important than the film to money makers.
In many cases the DVD will make more money, for the producers, studios, and film-makers, than the theatrical release; where distributors, theater franchises, and concession-providers profit most. The trailer needs to fool people into buying tickets and also sell, or rent, the DVD (and let us not forget the video game).
Over the past years I have seen thousands of trailers, and got sucked in by them, causing me to rent—as well as actually pay to sit in theaters and watch—many dozens of terrible movies. My 'good-trailer-terrible-movie' radar is only a 4.9 version and needs an upgrade.
But, thankfully, and most importantly, I saw some incredibly fantastic films. Here are my top twelve (for the period 2005 to 2008) in alphabetical order.
If you have not seen one or more of these, then, see them TODAY... or this weekend (and STOP watching the news . . . ).
11:14 is a 'who/why dunnit?' suspense-film that keeps you guessing and engaged. If you are one of those people who dislikes the gimmick of showing the same few minutes of real time over and over again, just realize this is not some shit like: 'Vantage Point' (one of the many 'good-trailer-bad-movies', I fell victim to).
Across the Universe may be the best musical ever put on film. One prerequisite: you need to be familiar with, and not-dislike, Beatle's songs (Note: not-disliking is different than liking, in this case). The songs weave into the plot, small snippits of Beatle-lyrics jump out of the dialogue, and the whole thing is capped off by some great cameos by Salma Hayek, Eddie Izzard, Bono, and Joe Cocker.
an inconvenient truth, a documentary by Al Gore, is the only documentary that made it to this list (and I watch quite a few). If you want to learn some of the specific reasons scientists know the earth is warming because of things we've done and are doing, watch. If you already know everything because FOX news tells you about all the things the bible leaves out, don't watch.
Brick is the most unusual mix of 'young love' meets 'Sam Spade'. Joseph Gordon-Levitt can almost do no wrong in my book (and his character, here, is no exception). The dialogue requires your complete attention; not a film to watch while anything else could distract you (a friend told me it helped when she watched it with subtitles because of the constant, fast-original, slang).
Cashback is about a sketch/painter-artist (so I may be biased to include it here). It also contains dry 'British' humor and pretty naked women (two other things, which may cause me to give it preferential treatment). It has a subplot that centers around a science-fictionesque ability of the main character . . . and an SF trailer can suck me in better than most. So—with all that aside—how can this be a great film? It just is.
Children of Men is Clive Owen at his absolute best. If there is a better representation of the 'ever-weary-reluctant hero' character I have not seen it. This strong futuristic-SF/road film should be at the top of your to-see list (or your to-see again list if you've watched all of these).
Hard Candy, a small-budget revenge-film that doesn't get off-message and delivers in a chilling, thrilling way, shows that Ellen Page (Juno) has always been able to pick a great role (and was always able to nail her performance). 
No Country For Old Men is the best drama on the list. If you haven't already seen this film you must not be a film-watcher; maybe you don't watch films recommended by others, or shun films that have won awards. If so . . .there are some funny things over on U-Tube, whyn't you go check 'em out? Right now. Yea, now.
Old Boy will shock and enthrall those who don't mind subtitles (it's Korean). It was released in '05, but I didn't see it until '07. If you do any research on it, you'll have the plot-twist(s) spoiled and then it won't be a mystery, will it? Not for squeamish viewers. Strangely, this is the only subtitled film that made this list of must-see's. Since my taste runs heavily foreign (maybe as much as 30%) I'm surprised only one made my list. (I do not recommend the re-make.)
Shortbus is the best quasi-porn-esque film I've ever seen. John Cameron Mitchell (Hedwig and the Angry Inch) wrote and directed this sex-story, included funny dialogue, a real plot, found good-to-OK actors and actresses, and actually got it distributed (limited release) in theaters. If you have always hated porn films (except the parts between the fast-forward's) this is for you. If you are homophobic, religious, or in any way put-off by sexual acts and conversation, this is not for you.
Southland Tales, one film I've, now, put on my see-again list. Mostly, because I'm certain I'd get more out of the second viewing. An SF-mystery-thriller that is confusing and a half-dark funny; it's the one you'll love or hate, understand or quit watching (with a "WTF did I just see?"). If you have to pee or if you are hungry when you watch this, you will lose the spider-silk-thread of plot. Requires 10 times more concentration than Children of Men.
Wristcutters, a love story contains a funny, one-of-a-kind plot about what the ever-after holds for suicides. This film was almost beat-out by 'Wall-E'; but because it made me laugh-out-loud, contained some sharp dialogue, and actually made me think... it stuck in my head more than the animated, cute, SF film.I provide this list in 2020, as a springboard for my new list of Arthouse Bizarre Convoluted Dark Films (ABCD Films).
nine hours of hobbiting
2014 ten films
With one last page still hanging on the calendar, I prematurely offer this years ten best films.
Birdman should not be missed by anyone; Interstellar is a real treat; Gone Girl was filmed perfectly; John Wick aspires to be (and maybe is) the best retired-hitman-revenge movie of all time; Lucy is a great action-think film; Guardians of the Galaxy entertains almost everyone; Under The Skin perplexes wonderfully; Snowpiercer is full of great characters and is metaphorically over-ripe; The Lego Movie and The Boxtrolls prove stop-motion animation can trump green screen and computer animation.
Lucy - film review (☆☆☆☆)
Lucy, Luc Besson, 2014 is not only recommended viewing for fans of the writer-director's other films, but for aficionados of the filmic arts who enjoy the occasional unique as well.Monsieur Besson took La Femme Nikita's initially reluctant female singularity Übermench, added a sufficient amount of humor from his The Fifth Element, included an obligatory crazy-foil and legions of speedbumps dressed in black (Léon, The Professional) and then went one step further: he added a message. The result is a successful think/action movie. I do not know of another example of this type of film, which makes it worth seeing if only because it's one-of-a-kind.
Abstract, philosophical (para-philosopical to be more accurate) films like Koyaanisqatsi or even The Tree of Life are solid documentaries or dramas (or a combination of both) and all are locked to their Serious Messages.
Template-driven action films are, by design, the opposite of unique.
Lucy. Well...Lucy is both of the above.
Mr Nobody - film review (☆☆☆☆☆)
Here's a test: Requiem for a Dream, Darren Aronofsky (2000); the question is not if you liked it, or even if you enjoyed Jared Leto's performance (he's also the main character in Mr Nobody) the question is: Have you watched it, in its entirety, beginning-to-end, without distraction. Yes? Go to the next question. No? I don't think you'll be able to sit thru 30 minutes of Mr. Nobody.
Same question about Amélie, Jean-Pierre Jeunet (2001). Yes? Next Question. No? You will be so lost and confused by Mr. Nobody. Your brain just doesn't work like mine. It's not a better/worse thing, we just process information differently.
Which of these five films have you seen? Vanilla Sky, Cameron Crowe (2001); Sliding Doors, Peter Howitt (1998); Inception, Christopher Nolan (2010); Cloud Atlas, Tykwer/A&L Wachowski (2012); Memento, Christopher Nolan (2000).
None? You won't make it through the opening credits of Mr. Nobody.
One or two? You may be able to watch the entire film (after all, you made it through Requiem as well as a frenetic, subtitled, French comedy) but you lack sufficient film foundation to actually get your brain completely around Mr. Nobody. The up-side: you have a short list of must-see films to catch up on (except Cloud Atlas, you can skip that one; I only included it because I needed a 'high bar').
Three or four? You'll understand Mr. Nobody, so maybe you'll like it. Lack of understanding is the main reason films like this (these) are disliked.
You've seen all of them? Then you'll love Mr. Nobody.
It really doesn't matter what you think about any of these films—like, hate, or indifferent doesn't matter. If you have seen all (or almost all) of these seven films, your brain works like mine.
The Short Game - film review (☆☆☆☆☆)
It begins in the familiar way these things do: catchy montage; authoritative deep male voice over; introduction of the child golfers, who will be filmed over a period of months as they prepare for, and then compete in, the world junior golf championship.
The producers and director borrowed the template used in the golf show Big Break as well as Toddlers and Tiaras and many, many, other reality TV shows by spending a few minutes with each of the main competitors (three girls and five boys) on their home turf (two from Florida, one each from: Texas, California, France, South Africa, China, and the Philippines) introducing themselves and their families. At this point we, the viewers, begin to make decisions about who we are going to like, dislike, and root for—based solely on snippets of conversation and/or actions captured by the film crew and, of course, by our preconceived biases.
Very early in the film it becomes obvious that the cinematographer(s) and the music producer play a very important role in making this an extremely enjoyable film. The transitions and the music montages are carefully done with attention to detail. The editing is masterful.
I can't recall the last time I watched a film and recognized that the contributions of the "people behind the scenes" were not only important to the overall watching experience, but were THE REASON for liking the film. You know when your heartstrings are being strummed; we all do. In this film the documentary film makers, without a script, manipulate our emotions with music, editing, camera and microphone angles and omnipresence. I laughed. I cried. I cheered. I constantly muttered, "so mature for eight years old". I became aware of my preconceived biases (which is something the director wanted me to do) and I came away wishing it were possible to peek into the lives of these child-people in a few years to see how hormones alter them (kind of an Up series with golf as the common denominator).
To really like this film, it will help if you already know something about and maybe even enjoy the game of golf...but it is not a requirement (any more than you had to know something about child beauty pageants to like Little Miss Sunshine.) This film is available on download and DVD; I think you'll enjoy it as much as I did.
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