peapulation Reviews

The Sentimentalists (2014)

A modern Greek tragedy

[2 November 2014]

A gem of modern Greek independent cinema. Love disturbs the dangerous balance of violent lives in The Sentimentalists by Nicholas Triandafyllidis, presented in the Autumn section of the 2014 Raindance Film Festival.

Two hit men fall in love with two forbidden women. One falls for a prostitute and the other one for his boss' daughter. Love is, from the get go, synonymous with tragedy and much like the film noirs of old conveys the self destructive nature of criminal characters. The film, in fact, begins with the sudden murder of one of the hit men - interrupting his casual romantic date with his girl. From there, we backtrack to a couple of days before the events and are introduced to the Greek gangland.

An overprotective father, a manipulative pimp - they represent the obstacles in the film's romance. Because this film has much more to do with oniric and graceful romance than modern gangster flicks. It is a film full of vulnerabilities of sweetness. This is shown by the soft lighting which sometimes even slips to the old fashioned soft focus of pre-code era Hollywood. A particular attention to the pacing and rhythm of the film, much slower than one would expect, and a fluid camera- work also make the experience magnetic in a quasi- spiritual way. It is concealed by the nostalgic soundtrack, with old songs punctuated by the crackling of vinyl records and the gently tapping of the fingers on the keyboard of a piano. Even on a sexual perspective, love making and adoration is portrayed by the attention given to feet. Here, this visual touch is not at all fetishistic, but rather a sign of vulnerability and helplessness.

Nevertheless, love that lives in a world of violence is born to die. And despite the well meant romanticism and the dream like appeal of the film, self destruction remains the constant drug. One of the hit men is a loose cannon and has less control on his life also due to his vices and alcohol abuse. The other one is much more collected, yet his love for his boss' daughter is a magnificent obsession he clearly cannot do without. The Sentimentalists is in fact a modern noir, and as such it ties in the nostalgia identified with the genre without disregarding the influence of the times it is set in - including the crippling economic crisis that hit Greece so hard.

Telephone Operator (1937)

Cheap Old Stuff

[3/10 · 14 February 2011]

Not sure how this film is getting such a high rating, there are other films that would deserve a higher one and aren't going past the 6 out of ten mark.

Anyways, this is really dull stuff. I watch a lot of old cheap production of the day, most of this stuff is free domain and can be watched on archive.org. The majority involves the same formulas, but there is always something charming about them that really gets to you. Most of them, however, are simply cheap and dull.

This one film is based around the fling between two telephone operating ladies and two linemen, which takes place in the middle of a rainstorm that turns into a disaster when the dam breaks. I'm not into disaster films, I find them two dimensional crap, but when a film is so evenly divided into two parts - the cheesy romantic comedy with the usual sketchy characters, and the dramatic disaster flick which it turns into towards the end - it's hard to know why anyone would consider it worth watching. Furthermore, the lines in this film are not memorable at all, and seem to be the rejects from the famous one liners that were in films of the time.

Plus, speaking of dialogue, I realise the speech of those times was different, and I really do like it, don't get me wrong. But even I can get fed up of hearing 'gee that's swell' or 'that's fine' in the same tone of voice. Eventually you think everyone is trying to be a louder version of Humphrey Bogart (one of my heroes).

Svengali (1983 TV Movie)

What a Waste!

[4/10 · 14 February 2011]

Most of the people that have seen it, will not have anything bad to say about the performances of the leading actors. Yet, it is obvious that Foster cannot sing, and that O'Toole is being Bela Lugosi, the star of the early Dracula films.

Nevertheless, it is not their fault if in the late seventies they were asked to star in such a tremendously average and weak movie about a young rock star in the making whose mentor is a tough Hungarian and former musical star. Eventually, the 50 year old becomes romantically involved with the 22 year old, and I hate the way in all these movies in the end they actually do 'make it' as they say in the film, but there is never just a strong admiration or platonic love. It would have kept O'Toole's character interesting, before it too crumbles down and becomes a sad little human being.

Anyways, it's free on youtube somewhere so check it out there, though mind you, you could be bored to hell with, particularly every time O'Toole is away from the action.

Hell-Fire Austin (1932)

Slapstick charm - Cheap western restrictions

[5/10 · 8 February 2011]

Hell Fire Austin can be considered a slapstick comedy as much as a western. The appeal of titular character and his streetwise Brooklyn friend is very much based on the Laurel and Hardy model, with the two guys not particularly enjoying each other's company though it has become essential, because it's better than being alone.

It's a curious little film. I have seen way too many cheap free domain westerns not to consider this different. From the very start you know this will at least be entertaining, and a times even look like a early spoof of the genre. Its start is actually a little surreal. A bunch of discharged soldiers, looking bored, almost look right at the camera and seem to be going 'now what do I do?'. And all of a sudden, Hell Fire Austin without warning comes into the scene, riding his horse with the film sped up, and well the film begins.

The plot is very simple - too simple. The two help a poor lady from having her horse stolen, and Hell Fire Austin wins a horserace with it. It moves slow and towards the end it's almost frustrating. But it's better than a lot of films like it, and has an original kind of charm.

Two (1965 TV Short)

Ray on Youtube

[9/10 · 3 February 2011]

This is on Youtube.

I noticed there are no infos on the movie, and I don't know much about Ray himself, but I felt I should write something.

This short film is about a rich Indian kid who, upon seeing a kid in the garden in front of his house play a flute, immediately engages in a competition with him to see who owns the better toys.

It's a simple film with clear dramatic undertones and dealings of delicate themes, like greed, hate and separation. I'd love to give more info about it, but I am afraid I don't know enough about it to.

The film is shot in black and white on a small film camera. It's very raw, but conformist in its narrative structure.

Jesse James' Women (1954)

Cringe-worthy OR a missed opportunity for soft-core pornography

[2/10 · 29 January 2011]

This is one of the worst films I have ever seen. And I have watched Dwain Esper films, and loads of shitteos and exploitation films. But this is boring, dull and yet it really does seen to qualify under the label of 'EXPLOITATION'.

In this film, Jesse James is a slimy creature that tricks women to get his money. Not at all what the legend depicts the famous outlaw as. Not only that, but these women all fall for him, and fight over him, and it's all just demeaning and incredibly sexist.

Furthermore, there is a whole sequence where you can see one after the other be knocked down by his 'charm'. No kidding, I thought all that was missing was the sex scene that would have made this an early porn feature, predating that likes of Deep Throat and Vixen...or even Lonesome Cowboy. (The most notable sequence is a cat fight between two women, which Jesse James ends...hear ye hear ye...by pouring beer over them). Oh yeah! I must admit, towards the end, the accents made me smile. I won't spoil the ending for anyone - which would be a real shame - but I will say that the screaming woman at the end I thought was so funny, trying to convince the sheriff that that man is Jesse James. But in all honesty, this is an awful, awful film that should not be watched by anyone - ever!

Mi fido di te (2007)

Not another Italian TV Comedian's movie

[4/10 · 29 January 2011]

The Italian film industry seems to depend on vehicles for TV comedy stars. Some are really worth watching; Aldo Giovanni & Giacomo made some gems in the past, and Ficarra & Picone are pretty interesting and actually great actors.

Ale & Franz follow up in the long line of such comedians. They certainly don't stand out as actors worthy of the big screen - their charisma does not translate well. Furthermore, this is a film about two swindlers, and there are so many of these around, that it's really nothing new. Plus, it's stretched out, and this makes the film seem long and tedious. We lose interest fairly quickly, particularly seeing as time jumps too quickly, and lazily.

The Gay Deception (1935)

Wyler - pre Roman Holiday!

[6/10 · 28 January 2011]

I love Wyler. People never talk about him regardless of the fact that he directed the best epic movie ever, Ben Hur, one of the best rom-coms ever Roman Holiday, and classics like The Best Years of Our Lives and Funny Girl.

he Gay Deception, like Roman Holiday, is a tale about a royalty wanting to be a normal, everyday person like everyone else. He ends up falling in love with a girl who on the other hand wants to be royalty, if only for one month, after she wins the lottery.

No prize for guessing the ending. But Wyler too knows the audience knows how the story will be resolved - so he makes every joke count. Every meeting is a delightful clash of the opposites, with fast witted dialogue and hilarious performances, especially by Lederer, whom I have never seen this funny.

If you look closely, you will notice small jokes with open references to sex and things impure that the Production Code was against and did not allow. This isn't It Happened One Night, but it's a nice film that will make you smile.

The Red Spectre (1907)

Satan is a Magician

[5/10 · 22 January 2011]

In 1907, we all agree, cinema audiences could be easily amused, so to say. But even today, to look at the pioneering cinema ways used to trick the human mind is somewhat fascinating. I, myself, get more of a kick from watching these old fashioned movie magicians than in a live magic show where everything is overdone. Here, the camera is still, Satan is a guy in a Halloween costume - but see how the frame is used to its fullest, the sets are so creepy and the eerie atmosphere kicks off right away, when we see a twirling coffin magically appear, and the magic show begins.

A treat for all fans of novelty early cinema.

Minesweeper (1943)

Get them to serve the country...

[4/10 · 1 December 2010]

From the man that would have brought you the Navy Way came a film that, towards the end of the second world war, seemed determined to get those young men in army or navy uniforms to fight for their countries.

So, the story of a deserting Navy captain with a gambling problem who decides to join the troops again, even as a lowly minesweeper and seaman, is perfectly politically correct for the blossoming of the US involvement in the world's biggest monetary conflict to date a.k.a. WWII.

It's obnoxious. The storyline is predictable. The characters are caricatured. People, including myself, are always ready to shoot on Micael Bay's awful Pearl Harbour, but that is nothing more than a film like Minesweeper with a much bigger budget. In the end, it's all about God, country, killing those Japs, and if you die, you die a hero, and everyone is proud of you, cos you were a good kid.

But what can you do? The film isn't laughable, and it's made in a straight forward way that means no harm. As a product of its times and indoctrinations, it can be forgiven, but as a poor film, it cannot.

Battle of Blood Island (1960)

The more time goes by, the less I am impressed by it...

[4/10 · 27 November 2010]

Hello. - MOE! - I thought I would review this film, I don't usually, but I feel inspred. - MOE! - The film is quite simple. Two men are the only survivors of a disastrous attack on a Japanese island in WWII. - MOE! -The two men are incompatible yet, they must stick together because they only have each other.

The more I think about it, the more is just wrong about the film. - MOE! - One, 10,000 men were sent to the island and only two survive? It looks like there is about twenty Japanese soldiers fighting them off. And anyways, isn't 10,000 men too many for an island so small and insignificant? - MOE - - MOE! - Most of it is just talking, and while the soundtrack makes it sound like a B-horror movie by Ed Wood, and the war suit will neither make it appealing to fans of war movies or talkie dramas, the atmosphere is intense (or mind numbing, you decide). - MOE! - Bottom line is that you will either hate this film or love it.

P.S. Could Ken have said MOE! any more than he did in this film? :)

Jackie Brown (1997)

Disappointing copy of Pulp Fiction

[5/10 · 18 September 2009]

After Pulp Fiction, Tarantino was solid gold. Much like Peter Bogdanovich before him, it seemed like everything he touched was gold. However, he did something that even the biggest Tarantino fans won't quite forgive him for: Jackie Brown. This film, unlike Pulp Fiction, is not so inventive, is slow paced, the characters are much less interesting and apart from a few interesting moments, the film just drags on. However, it is just another version of Pulp Fiction. While it would have been wiser to changing style completely, Jackie brown showed the world that he was human, and that perhaps his success had limited his abilities. Much like Bogdanovich.

"Jackie can tell me any story that comes into her pretty little head, just so long as at the end of that story she hands me my motherfucking money."

Berlin: Symphony of Metropolis (1927)

One of the best 'slice of life' documentaries that doesn't age but keeps getting better and better.

[8/10 · 18 September 2009]

An amazing work of the 'slice of life' films of the 20s, really the main and most admirable example along with Dziga vertov's Man With the Movie Camera, to this day, the film remains an effective portrayal of the great city that Berlin was even back when the film was made. In fact, as time goes by, it picks up even greater importance because of the historical value that it holds.

What is truly admirable is the editing and the cinematography. Perhaps even more than the things that are contained in the framework, is the framework itself which has the first impact on the viewer. The wonderful photography, and the skilled editing that is able to go from man to machine, from trains to horses, from workmen to roller-coaster rids, are always elegant and original, even in regards to Vertov's later work mentioned above. It is, in fact, stylistically a Ruttmann work. Although the work of Vertov and Ruttmann are similar, there is a difference in the sense that while The man With the Movie Camera is aware of being a film, and plays with the process of film-making, Berlin actually lets the contents of the framework play out, and never quite interferes with it.

1900 (1976)

A pretentious masterpiece.

[5/10 · 16 September 2009]

Pretentious but majestic, this film is a masterpiece of some aspects and an almost complete flop of others. For instance, the cinematography and the art direction are what are truly amazing and make the film stand out among others. However, its coldness and distance don't make this a touching story, the theme of friendship is lost because no true signs of that friendship are ever established, and Bertolucci himself seems to be giving a lot more attention to the technical aspects rather than actor's performances. In this way, most of the actors, strangely cast, even seem out of place, especially Robert DeNiro, whose best performances are the ones where he can express himself wholly even through some share of improv. There is one performance that is better than the rest, and that is the one of Donald Sutherland, as the Fascist whose evil is deeply rooted in ignorance.

At around five hours, this film can seem a bit tedious. The film never offers a character that we can truly admire, both the lead characters of Gerard Depardieu and Robert DeNiro have flaws. The dramatic impact of some scenes is sometimes much too heavily reliant on the wonderful score by Ennio Morricone, and the Communist messages are much too strong especially in the end, where the film seems to shift from being the normally time lined realistic film to being a half-experimental one. This is not an easy film to watch, it is a treat for the eyes, but it's quite demanding, crude and perhaps realistic, but not very appealing on a storyline point of view.

The Leopard (1963)

A work of art and masterpiece of cinematography

[9/10 · 3 February 2009]

Luchino Visconti creates a work of art. The cinematography is poetic and beautiful, the tracking shots and the mise en scene being possibly the best features of the film. Luchino Visconti had something quite clear in mind, and it doesn't even bother us that the story moves slowly, because in the same charm of Once Upon a Time in the West, it is a constant slow pace that resonates as perfect, because we can tell what each characeter feels by the way the camera is placed and by the music that plays in the background, and every visual metaphor can be fully picked up.

Visconti visualizes this film as a portrait, much in the way Kubrick had with his own Barry Lyndon, although the two films have different themes, the two directors portray a huge similarity in style even in the other films that they directed. The change of the ruling class, the changeover from an independent monarchy to a united Italian kingdom. Burt Lancaster is excellent as the powerful man who feel he must step down, as he represents the old class, but he is even better at portraying the mysterious man, the one that secretly envies his nephew's youth, the life he will live, the things that he'll see, the woman that he will love. Too bad that the other actors don't look like they are understanding their characters at all, and come across as either farcical (Terence Hill) or just not bothered (Alain Delon). Claudia Cardinale doesn't act, she poses.

It's not too hard to get past all that, because while Visconti may have not had a great feeling in this film with his cast(apart from Lancaster), he does with the crew. The art direction is sublime, as is the cinematography, which must be praised. This is a film with a deep historical meaning, as well as a political one, and the fact that it's resolved in a waltz makes it all more charmingly beautiful. At almost three hours in length, the film in never overstretched, rather by the end of the film we don't want to let the characters go, although we can imagine how life will go on.

WATCH FOR THE MOMENT - The unforgettable waltz Lancaster and Cardinale share.

The War Room (1993)

The direct insight of the 1992 US elections

[7/10 · 3 February 2009]

Although Bill Clinton became president of the United States, it was James Carville and George Stephanopolous won the elections in 1992. That seems to be what Hegedus and Pennebaker are telling us in their documentary The War Room, and for what it looks like, it must have been true. The democrats hadn't won an election in a long time. They, as people in charge of the Bill Vlinton electoral campaign changed the way campaigns would be run and seen. Or did they? History tells us that presidents have aways liked being presidents! They always tried to reach the audiences, always tried to use all the media at their disposals in the best of ways, and there always were people that managed their image and wrote their scripts. The premise seems to be pretentious and wrong. It is true, however, that this is possibly the one and only documentary that gives us such an insight of the organizing committee of a presidential campaign, and it is very interesting to see how things are run, and how people think. They are the underrated heroes. Before Clinton does anything, they think of it. In fact, we hardly ever see Clinton ourselves, which further strengthens the fact that it was them who won the elections, not him.

Pennebakes does what he does best: direct cinema. But in comparison to other direct cinema legendary films, this one is hard to get fully into. In fact, the scenes that we are allowed to get into through good editing and cinematography are great, but the rest is just annoying and confusing. Also, it's hard to keep track of all that goes on in the war room, and although that was never going to be easy to do, it should have been done better. Still, a lot of it is very good, and worth a look, because the concept, the most important thing in a direct cinema film, is very interesting, and now that we know how things ended, pleasant to watch (unless you're a republican...) WATCH FOR THE MOMENT - When Carville is asked by the media if Clinton went to Moscow. "Yes" answers Carville. He knows exactly what is doing.

A Woman Under the Influence (1974)

Cassavetes draws us into a world of domestic chaos and madness in a way we were never before

[9/10 · 28 January 2009]

John Cassavettes is one of the American filmmakers that changes the way Hollywood would look at cinema in the years to come after the 60s and 70s. This is perhaps his strongest film from a dramatic point of view. He certainly is one that would look for a different kind of film-making based mostly on the performances of the actors themselves, never letting fancy camera work get in the way. While this may have been annoying in some scenes of Faces, in a work like A Woman Under the Influence it makes us become more involved in the chaos of the Longhetti family.

He certainly is helped by all the cators he chooses in the film. He really always casts his parts well. Peter Falk's personality finds its home in a character like his Nick. he is wonderful. Equally as wonderful is Gena Rowlands, as the cuckoo woman under the influence. It's hard to believe that both these actors were never really in the A-list, they act like they are two of the best actors that ever lived. And a big chunk of that is because Cassavettes' way of directing always suits the characters, the story and the situation that his films portray. The chaos and mental instability of the character of Rowlands is shown very well by the blose and gritty movements of the camera and the grittiness of the picture itself. We become so aware of the situation that we are in it. There are no black screens ending the scenes, the fights are long and unbearable, the uncomfortable situations that Rowland's state of mind leads to are never ended abruptly, we often stay for the whole events, stay for the beginning, the middle and the end of every single little tragedy that happens everyday.

The husband shouting, the wife making strange sounds, the kids crying. These are powerful images that set important tones, and it's unbelievable when they are juxtaposed in succession by displaying the happy moments when they all laugh, as they all sit on the bed like a happy family. The husband trying too hard to make things happy and forgetting what happy things are like, the wife being unaware of the real world, and being unaware of being unaware. This film is deep, and even though it's over two hours, you will want more, because you hardly ever get the chance to be so drawn into a film the way cassavettes draws us into A Woman Under the Influence.

WATCH FOR THE MOMENT - The whole final sequence. The chaotic atmosphere and the fear that something terminally terrible is going to happen.

The Pianist (2002)

The dramatic power of Polanski meets the dramatic power of the Piano

[8/10 · 28 January 2009]

There is something about the piano instrument that is deeply dramatic itself. Something rooted within its very nature of high and low keys, and the way they sound when the pianist strikes its keys soft or hard. The sound that it creates reaches down your throat and in your heart. All in all, its delicate and hardcore sound makes it the perfect instrument to describe and represent all sorts of dramatic stories, including Polanski's the Pianist.

Many might not find its slow pacing too attractive. Indeed, the bit in between when he find himself living in the outside world in complete secrecy loses much of its suspance on repeated viewing. But the feeling of claustrophobia is the haunting one that Polanski wanted us to feel. This is not Schindler's List, a film about the hope to be helped. This is a film about the hopelessness of being helped, and the surprise and somewhat guilt of the times that help he is received. It is the story of Jewish Polish pianist Szpielman, played by a brilliant Adrian Brody, who captures all the desperation, all the fraility with his dramatic technique as much as with his physical outlook; his casting is perfect. And Polanski's ways of telling such a disturbing dark story is something he can do well, and since Chinatown, we know that he has the guts to end it badly. The whole ending sequence is almost shocking, when we see the Polish soldiers charge at him, we can almost believe that Polanski will end it in such a depressingly ironic way.

The cinematography is beautiful, as are a lot of things in this film, which is one that will haunt you the most based on the holocaust. And that is mostly thanks to Polanski because he is a filmmakers with balls. He is dangerously unpredictable, he knows what pain and sorrow is, and knows how to transfer it on screen. And it helps if you have an interpretive piece of piano that symbolises everything, and has such an energy to symbolise it.

WATCH FOR THE MOMENT - When the Polish soldiers charge Brody. What an ironic way to go...

Double Indemnity (1944)

A prime example of film noir and the rare genius of Wilder

[8/10 · 28 January 2009]

When we think of film noir, we think of a corrupt and glamorous world of gangsters, cigarettes and femme fatals. We think of shadows of venetian blinds and wide angle close ups. Double Indemnity is one of the best and most known examples of this genre. Billy Wilder is an absolute genius, his stories always unfolding at the right pace, and his way of bringing them to the screen barely ever impeccable.

This is the forties cinema. A story of love and betrayal, of manipulation and big money. The story of femme fatal Barbra Stanwick luring poor insurance salesman Walter Niff to kill her husband so they can be together. Stanwick has what it takes to make her character look sexually dangerous and desirable. Niff has the ways and traits to make his character look like a stylish fool. But as far as acting is concerned, both are surpassed by the wonderful Edward G. Robinson, who is extraordinary delivering lines faster than MacMurray can say "shut up, baby".

This sort of cinema will never age. It will always find a point of relation to today's society. And when it's directed in such a beautiful way, it's little wonder that the noir is so loved and remembered. The mise sn scene is beautiful. MacMurray's and Stanwyck's character are never really portrayed close. Even when they kiss, they are always shot at an awkward angle. When they are in the same frame, Wilder always makes sure that there's something in the way, whether it's a mother and a child in a supermarket, or a fish tank in the study room of the man whose murder is being secretly plotted. This murder plot reaches its height of tension when MacMurray lures Stanwyck's husband to sign a life insurance, as he thinks he is signing an ordinary car one. He is in fact signing his life away.

As in too many noirs, though, it pitfalls into the use of voice over. That is forgiven because from the start we know that he is telling Edward G. Robinson the story, speaking into the voice recorder, confessing his crime of passion. It is a film of which we know the ending already. In fact, one of the most interesting things about the film is the way we observe the main character, and the way that we back him up sometimes, only to change our minds other times. Almost every scene is necessary to make up our minds, when really the only good guy is Robinson in the whole movie.

WATCH FOR THE MOMENT - When the murder plot is put in act, from the arrival to the station, to when the car won't start...

Born to Win (1971)

Seventies film with a lot of style and almost no real substance.

[4/10 · 28 January 2009]

From the seventies comes another seventies flick that has a lot to do with drugs and junkies. The main character played by George Segal, JJ, is a junkie whose main goal in life is to get fixed everyday. As a result, everything else is secondly important. His relationship with his girlfriend, and in a surreal way, even the fact that he has children, which is only mentioned in the film two times, and briefly.

From the way it starts, we are almost tricked into believing this will be a comedy. Then, from then on, it becomes the tragic portrayal of life on the streets. The footage we see on the screen seem dirty, and the gritty look of the film is meant to add to the brutality of the film. It's too bad that the part of George Segal is not so believable as a junkie, because it's not written well. There's too much emphasis on interaction and not enough emphasis on the characters themselves. The only times when we really see JJ break down is when we don't know what is going to happen to him. Drugs have driven him to a selfishness that is hard to side with. We don't pity him, but we literally hate what he has become.

The editing is horrible, hard to believe that it came from the same guy that did the editing for Annie Hall. The direction is careless and throws whatever good there was in the screenplay as of secondary importance, focusing the film around a plot that doesn't exist, and oversthetching the bit in the middle, in making us think that there is a plain plot. The actors are also scattered around loose. Robert DeNiro's presence does nothing for the standards of the cast, he too in fact doesn't know what he is doing. While Segal cannot get away with playing a junkie, possibly because he isn't bony enough, Karen Black as his girlfriend is adorable, but her part is not well written. We know nothing of her.

There is no good guy in this movie, and all in all there is little reason to watch it. There are parts that might have an impact, but all in all, there are better movies that deal with the same issues. It was certainly rushed.

WATCH FOR THE MOMENT - A charming scene that shows the film had ideas. Karen Black and George Segal meeting the first time as he tries to steal her car.

My Own Private Idaho (1991)

Independent poetic prostitution. Shame about the brutal acting all round (except for River)

[7/10 · 14 January 2009]

The independent cinema of Gus Van Sant is always worth a look. Some of his stuff is some of the most interesting stuff to come out of the States in the last twenty years. This is, in fact, one of his best known films, and although this is a Hollywood film, Van Sant insisted that some elements of independent film-making would be used. This was always going to be allowed after a film like Drugstore Cowboy, and with the theme of young male prostitution.

This could have very easily turned into exploitation, but Van Sant treats this plot with poetic regard. He's very soft handed, even in showing the crudest sex scenes, particularly in the ones where he uses the still shots, a very interesting way of showing sex scenes, that reminds us of Le Jetee by Chris Marker. The acting does let the film down a little bit. River Phoenix is great. He is exactly what Van Sant wanted, with the muttering way of speaking lines, and acting the adult child part made to do grown up things very well. It's the rest of the cast that is close to terrible. Keanu Reeves' performance is brutal. Watching his recite lines taken straight from Shakespeare makes you want to slap his face repeatedly. But this time, he is hardly helped by everyone else in the cast, among whom only Udo Kier can save himself as the German 'perv'.

The storyline was largely inspired by other classic works of literature. Scott's plot was notoriously inspired by Henry IV by Shakespeare, in fact they are practically the same storyline. But as well as that, we can notice and admire a strange similarity to Chimes at Midnight and Oliver Twist.

There are lots of interesting aspects to the story. The friendship between Mike and Scott, even when we know Mike loves Scott because he is homosexual, is for example really interesting, as would have been Scott's relationship with Bob, hadn't Reeves' and Richert's acting been so brutal. So, within the film, the interesting aspect that turns out to be good lies all within Mike and his problems, past and present. And, as well as that, his character and Phoenix himself, who makes the fact he is narcoleptic look cool.

Talk to Her (2002)

Benigno is Almodovar's masterpiece in this movie

[7/10 · 13 January 2009]

Almodovar reminds me of Hitchcock. His thrilling plot with a point of British humor, and his maniacal perfectionism as well as the overall mise en scene. However, the dark and psychological themes hold a Fritz Lang feel to them, although Lang usually only really explored them visually. In other words, thank goodness for Almodovar, who is carrying on the film noir banner in the whole world.

The only problem with this band is the problem that shows up in a lot of movies by Pedro, it takes its time on minor things that don't really interest us. As well as that, the side plot of the love story between bullfighter Lydia and Marco is unfitting, just like the friendship between Benigno and Marco is not shown very well, because they don't really look like great friends, even though towards the end Marco comes to his rescue. Perhaps it is because Almodovar does not want to distract us from his latest masterpiece: the character of Benigno. It is such an elaborate character that hides loneliness, love and obsession. His love for Alicia is a visceral one, an insane obsession. The only two women in his life have been the ones he has taken care of. His love is so strong that it drives him to an insane gesture that will compromise him.

The whole relationship between Benigno and the comatose Alicia is shown well. She is completely vulnerable, but we feel happy that Benigno is taking care of her, because he is such a nice guy. We even suspect he is homosexual, until we realize that he is in love with Alicia. It's a film with many layers, many of which won't even be uncovered, but will have to be imagined. It moves a little slow, but it's still quite enjoyable, the sort of European film that still give the continent its respectability in therms of cinema.

My Super Ex-Girlfriend (2006)

This was never going to be good

[4/10 · 9 January 2009]

Sometimes, b-films can be admired for their over the top stories and for being different from mainstream films. But the plot is so ridiculous that this film never really had a chance to be good. And in fact, it isn't, falling in some of the stupidest and obvious screwball comedy tactics that this decade has seen, and that would make Laurel and Hardy spin in their grave. There isn't even an ethical reason within the plot of why this film was made. Is this supposed to be the comedy version of Fatal Attraction? It must be said, Uma Thurman tries, but Luke Wilson is awful: he probably wasn't bothered. The direction is just cheesy and even the special effects clash with the style of the film. You either make a superhero film or a romantic comedy, you do not try to make both. Just look at Spiderman III...

Grey Gardens (1975)

The examinations of love

[8/10 · 9 January 2009]

When it first came out, this work by the Meysels brothers was much criticized and even judged to be exploitation. Luckily, it is now hailed as a masterpiece of documentary cinema, especially now that society has been exposed to real exploitation in what is reality television, and the bad evolution of most direct cinema.

Really, at first, we must say that this isn't really direct cinema, it is more cinema verité. The difference between the two is very slight, but it mainly is the fact that in this documentary, we are made to feel the presence of the Meysels brothers, and they do interact with the characters filmed. This as well makes it clear that it is not exploitation. The Meysels have been allowed in the house, and they are included in what is a very eccentric situation of a very eccentric household. And both Edith and Edie just love the idea of being filmed.

It would have been very disappointing had very been shown only a voice of God narration and shallow interviews. Here, we are given a full portrait of the madness of the house, a madness that does seem to go down well with both Edie and her mother Edith. Their house is a mess, litter and animals everywhere, faded colors and furniture all over the house, and the constant fights that are constant interactions of reality. These two people have lived with each other their whole life, and are not fighting in front of the camera because they want the attention, but rather because they can't help talking to each other this way. They know each other too well to hide their inner feelings, there is no need. In the end, though, even as they blame each other for their lives, they really love each other deeply. Edie says she doesn't want her mother to die, because she loves her very much, and Edith says that she doesn't want Edie to leave her because she doesn't want to be alone.

But the most interesting aspect of the film is that regardless of their old age, the two women can't help be girls. They cannot help being one the singer, the other the dancer. Exhibit all their artistic skills in front of their camera. When Edie asks David Meysels rhetorically "Where have you been all my life?" she is really very happy that she finally gets to show the whole world herself and her wonderful showgirls skills. A beautiful portrait of stylistic importance and a charm that is highly unlikely to be ever seen again, the way only the Meysels and few others could do.

Oliver Twist (2005)

Polanski does cinema TV

[5/10 · 18 December 2008]

How can you not disappointed when the director behind Chinatown and Rosemary's Baby makes such a mediocre version of the classic Oliver Twist. There's little ambition, little will to actually go beyond the art direction, and make this a classic in its own right, and not just because it is based on the classic novel. The photography is lazy; too many mid-shots, the frames are too comprised: if Polanski was trying to depict a hopeless position which is that of the main character, he does not convey it well, because we are not frustrated at the way Oliver is being treated, but at the way we are not permitted to see what is beyond him.

Towards the end, Polanski must have felt he needed to do something to explain his will to film such a child-friendly story, so he decides to let darkness fall, so as to only be able to see a quarter of the movie. The ending is a let down. It's not very exciting, and not built well...the people we are supposed to hate become nice guys, apart from Bill, who right at the last minute becomes a good guy, because he dies when he hears his dog bark, and he realises he has forgotten his best friend (although he tries to kill him only a few minutes earlier).

Not executed well, but this does not destroy what Polanski created in a whole career. Ben Kingsley is perhaps the best thing in the film, with his mad, kind but at the same time dark thief lord character, but he too becomes pantomimical in the end when he turns crazy. And for goodness sake, why are there always those ten minutes too much in every film after the seventies? WATCH FOR THE MOMENT - When Oliver asks if he can have some more, and the people around you nod, intellectually looking as if "they knew this bit well".