★ ★ ★ ☆ ☆
Showing posts with label stanley kubrick. Show all posts
Showing posts with label stanley kubrick. Show all posts
Wednesday, 20 November 2013
Sunday, 10 November 2013
Lolita (1997) - Adrian Lyne
The critically underwhelming film version of what I can only describe as the book that made me most uncomfortable whilst reading on the bus. It was good, but it lacked both the loveable Humbert Humbert from the novel, and also the sheer shock factor that was also entailed within the novel. I am watching the Stanley Kubrick version on Thursday to compare the two, so expect a longer post soon. Jeremy Irons, however, was believable as the lead role.
★ ★ ☆ ☆ ☆
Sunday, 15 September 2013
Only God Forgives (2013) - Nicholas Winding Refn
I really think I need to sleep on this one, but I also want to write this whilst it's fresh in my mind. I finally got around to seeing it, when Cineworld decided to do a special one off showing, thank God. I think this may be an important movie in the future, and I'm glad I've seen it on the big screen.
I am torn between two minds. Firstly, the thing that stands out about this film is the perfectionism and symmetry that occurs in every shot, and I can say, "Every" without generalising. 100 per cent of shots are perfectly made with Stanley Kubrick's rules of symmetry in mind. Refn has done this expertly well, but it is noticeable within the film. However, with the thought that has gone in to all of these shots comes the negative aspects of the film: has too much concentration been put upon what is seen rather than what is happening?
The story lacks a strong narrative. I'm all for keeping a bit of mystery around lead characters, but when a viewer comes away from a film without any kind of answer or even any particular message, googling must be done, and that is a no-no. It's this aspect of the film that makes me wonder if Refn is just fuelling his own ego, by trying to make something as slow paced as Drive (2011), but even edgier. It is slow-paced, sure, but that again is its downfall.
The narrative could be told completely differently, and in twenty minutes or less, and I don't think that it would skimp on the action. Again, like Drive, this film has brilliant, memorable scenes (and shots), but the rest of the in-between is just fodder.
Another point I have to pick up on is the Ryan Gosling top billing. It is in no way, shape or form his film. To me, his character and the sort-of-but-not-quite-explored-B-plot of his erectile dysfunction (or so it seemed to me) was sidelined to the real story of parents and their children, both through his relationship (in every sense of the word) with his mother (played by Kristin Scott Thomas), and between the under-acknowledged Vithaya Pansringarm and his child.
I cannot rate this film, just yet, as I still cannot make head nor tail of it, which means to me anyway, that Refn was at least a little successful in cementing it in my mind for further pondering. MUST REWATCH.
I am torn between two minds. Firstly, the thing that stands out about this film is the perfectionism and symmetry that occurs in every shot, and I can say, "Every" without generalising. 100 per cent of shots are perfectly made with Stanley Kubrick's rules of symmetry in mind. Refn has done this expertly well, but it is noticeable within the film. However, with the thought that has gone in to all of these shots comes the negative aspects of the film: has too much concentration been put upon what is seen rather than what is happening?
The story lacks a strong narrative. I'm all for keeping a bit of mystery around lead characters, but when a viewer comes away from a film without any kind of answer or even any particular message, googling must be done, and that is a no-no. It's this aspect of the film that makes me wonder if Refn is just fuelling his own ego, by trying to make something as slow paced as Drive (2011), but even edgier. It is slow-paced, sure, but that again is its downfall.
The narrative could be told completely differently, and in twenty minutes or less, and I don't think that it would skimp on the action. Again, like Drive, this film has brilliant, memorable scenes (and shots), but the rest of the in-between is just fodder.
Another point I have to pick up on is the Ryan Gosling top billing. It is in no way, shape or form his film. To me, his character and the sort-of-but-not-quite-explored-B-plot of his erectile dysfunction (or so it seemed to me) was sidelined to the real story of parents and their children, both through his relationship (in every sense of the word) with his mother (played by Kristin Scott Thomas), and between the under-acknowledged Vithaya Pansringarm and his child.
I cannot rate this film, just yet, as I still cannot make head nor tail of it, which means to me anyway, that Refn was at least a little successful in cementing it in my mind for further pondering. MUST REWATCH.
Thursday, 27 June 2013
Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb (1964) - Stanley Kubrick
This film was the perfect political movie, mixed with a healthy brand of comedy. Peter Sellers was brilliant in his three roles, the best being Dr Strangelove naturally, but the President's phone call was a highlight of the movie for me.
★ ★ ★ ★ ☆
Friday, 25 January 2013
One Flew Over the Cuckoo's Nest (1975) - Milos Forman
This is one of those films that everyone says you should watch, it won loads of Oscars (the five main ones) and you'll think it can never live up to the hype. Well, it does.
Last time I saw this film I was about ten years old, and I loved it then. Rewatching has given me a greater understanding of the evil humanity behind Nurse Ratched (which picked up an Oscar for Louise Fletcher), and also helped me to spot certain actors that would go on to bigger and better things, Christopher Lloyd being a prime example.
Also, Danny DeVito is hardly recognisable as Martini, which just goes to show what a powerful actor he truly is. From directing and starring in Matilda (1996) to being the voice of The Lorax (2012) - Chris Renaud and Kyle Balda, DeVito is a man of many talents, and Martini is probably the one character that manages to outshine the rest of the major inhabitants of the institution.
Obviously, I have to mention the legendary Jack Nicholson, but must say I personally believe he is typecast as this zany, mad character a lot of the time. He still pulls it off, but it does get a bit same-y. This film is probably the finest of his career, and I know a lot of people say it's Stanley Kubrick's The Shining (1980) that put him on the Hollywood's biggest list, but this film, for me, is the epitome of a truly great movie.
Last time I saw this film I was about ten years old, and I loved it then. Rewatching has given me a greater understanding of the evil humanity behind Nurse Ratched (which picked up an Oscar for Louise Fletcher), and also helped me to spot certain actors that would go on to bigger and better things, Christopher Lloyd being a prime example.
Also, Danny DeVito is hardly recognisable as Martini, which just goes to show what a powerful actor he truly is. From directing and starring in Matilda (1996) to being the voice of The Lorax (2012) - Chris Renaud and Kyle Balda, DeVito is a man of many talents, and Martini is probably the one character that manages to outshine the rest of the major inhabitants of the institution.
Obviously, I have to mention the legendary Jack Nicholson, but must say I personally believe he is typecast as this zany, mad character a lot of the time. He still pulls it off, but it does get a bit same-y. This film is probably the finest of his career, and I know a lot of people say it's Stanley Kubrick's The Shining (1980) that put him on the Hollywood's biggest list, but this film, for me, is the epitome of a truly great movie.
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