Movies I've watched recently:
This film is actually worse than the first one, leaving no care behind; actually, if "no care left behind" would be the title, I'd given it higher grade out from courtesy. There's just nothing in here, not even anything little that aids or progresses action, for the sake of action. Even tipping a jar of paint onto the street would be more actionable and less questionable, than anything that goes on in this film.0.3
What a heap of troubles. Sweden often combats crime; one may say it's "our" forté. Trouble is, the same actors adapt the same dour, sour stance when affronting the crimes perpetrated by other film-makers and actors, all from Sweden. It's a downward trajectory. Here, the biggest crime is courtesy of Jacob Eklund, who would not be able to act his way out of a paper bag; he's far too lackadaisical and apathetic to be a lead guy, and his character's simply not believable. This story is somewhat interesting as one specific criminal quickly proves to be an informant for the police. That's about it, really. The action is questionable as I kept looking at my wall behind the TV at times, for more exciting stuff; I'm not exaggerating when writing it. Fingers crossed for more excitement.0.3
I'm a sucker for Fey/Poehler, and this time they've managed to be as brash and simultaneously fun as they should always have been; I mean, they've obviously honed their craft. They play sisters who walk down memory lane, and what keeps this from being a regular haw-haw SNL showboat is how they keep their eyes on the prize, story-wise. It's a complete film, lavish with jokes that not only prey upon the remember-when-we-were-young? thing, but show-cases humor in its simplest forms. There are not that many gimmicks, really, but mostly humor. Things work because of the words, not the context, e.g. in comparison with films like almost everything Adam Sandler has made. All in all, fun and funny, they make it work.0.3
This is a pure action-and-vengeance film, from start to finish. There's really no logic to some things, e.g. why the main character does not visit his estranged and brutally hurt (physically and mentally speaking) daughter in hospital, but is on a mission. Apart from that, though, this film is a study in cinematography, vengeance, neat tricks and sheer love for the kind of drama that I think all vengeance-based films should carry. There's a lot of fun too. What Hallyday keeps back because of his limited performance - just imagine if Alain Delon would have played the main character, which is what the director originally wanted - the sidekicks and the beauty of the film gives back. It's a bit like "Blade Runner" meets "Memento" and some ancient John Ford/Akira Kurosawa thing going on. A must-see for all action/vengeance flick buffs.0.3
This is a masterpiece. Where William Shakespeare's tale of betrayal, greed and blindness leaves much room for interpretation, this cinematic version goes beyond what could easily have been a flat, drab interpretation, and makes it come alive and breathe new air into the tale. I hope this adaptation goes around and is seen by all. Fassbender is really involved in this film, as previously seen in "Shame", as opposed the crappy role he had to play in "Prometheus"; Marion Cotillard elevates, both by herself and together with Fassbender. The calmness before the storm, breathtakingly filmed and shot first during the initial scenes, is cinematography, acting and direction in wondrous collaboration. It seems all actors are on-point, with one singular goal. This is truly brilliant. The language comes alive, through death and humanity.0.3
April 12th, 2016
If I’d written that schmaltzy overture, I could compose well enough to happily decompose.
Almost a theme to being lost to yourself (in a bad way), the romantic, plodding gait of the track suggests a Lament, an adagio, a very late-night walk.
I love this fucking track. Hearing it while en route to work, riding what’s in Stockholm called one of the green subway lines, which are mostly placed overground, the frosted landscape, with the sun coming up tinting things sparkling yellow, de-frosting all Swedes, it’s just a stupefying thing.
Also, I see that Jean-Luc Godard has made the film to which this song is part of the soundtrack. It’s called “Contempt“, and I’ve not seen it.
April 10th, 2016
“Lady Snowblood” is a film that came out in 1973.
To say it’s a vengeance film would almost be vague.
Fast-forward until a time when Lady Snowblood has turned somewhat older, takes a walk among the flowers, and identifies political issues that would be highly valid and massively important 43 years after the film was made:
Who wouldda thunk it?
What would be a better way to describe our current times, even though I can’t say how much I’d love for an anti-capitalistic assassin to suddenly appear. I mean, economic-based criminals don’t get more than a slap on the wrist if they’re caught, while the not-super-wealthy (i.e. more than 99.9% of the population) pay for it.
Perhaps the answer is our 87-year-old guru, Noam Chomsky:
By the way, that’s not just about the USA.
Where are our assassins?