The Double Life of Veronique is a beautiful film about two identical but unrelated woman living completely separate lives but who may or may not have an indirect influence on each other. Krzysztof Kieslowski remains my favourite director. His films are poetic, profound and mysterious. I saw Veronique years ago on VHS. Watching it again on DVD is like watching an entirely new film.
I’ve watched most of Kieslowski’s films. I’ll eventually post about in them more detail as I re-watch them.
No Country for Old Men is the best movie I’ve seen from the Coen Brothers. Naturally, it’s about a psychotic killer with a high-pressure air gun looking for stolen money, and another guy who stole the money running from the guy with the air gun. I normally don’t care much for the way the Coen Brothers use lethal violence in their movies, but in this case it’s fascinating and compelling because it’s so cinematic. It’s a pleasure to watch the craftsmanship that goes into it. And it’s not all for show. The images and the subtle details work together to create a story and a weird reality that takes you for a ride and leaves you thinking, “What the hell was that?” It’s a crime drama, a thriller, a comedy and a morality tale, and it’s entertaining. (A detailed analysis and discussion of the film on Jim Emerson’s Blog.)
A Very Long Engagement tells the story of a young woman (Audrey Tautou from Amelie playing a slightly less quirky version of the same child-like character) trying to track down her boyfriend who was supposedly killed in the trenches in World War I. Just about all the shots — from the warm, picturesque rural scenes to the cold, brutally realistic battle scenes — are composed like paintings, so much so that the subtitles are distracting at times. That’s one minor criticism. The other is the storyline which does meander a bit (some tighter editing might have improved the pacing). But the performances are great and there’s magic and fantasy and something beautiful in every scene, so who cares? It’s an excellent film.
Gone Baby Gone is Ben Affleck’s directorial debut and it’s pretty damn good. It’s the story of a private investigator looking for a little girl who has gone missing in his neighbourhood, and brother does he get messed up in some serious shit. And just when you think you know what’s going on, you don’t, and it’s at that point the film shifts into high gear and doesn’t let up until the very last shot. It’s not just a thriller; it’s an intellectually engaging and morally challenging film, one that will give you something to talk about while the credits are rolling. That’s an accomplishment for any film. (Not recommended for parents with small kids, though.)
Black Snake Moan is definitely the coolest movie of 2007. This movie sweats cool. From Berardinelli’s review: “Black Snake Moan… opens with a hot sex scene followed shortly thereafter by the sight of a girl writhing on the ground in apparent sexual frustration. Later, there’s booze and blues and black-and-blue marks. There’s a (white) girl in chains [Christina Ricci] and a (black) man holding the key [Samuel L. Jackson]. The film pushes more buttons than an elevator operator but, in the end, Black Snake Moan works to turn expectations upside down. The movie has things to say about race and religion and the pain of loneliness, and it does so with considerable offbeat wit.”
I wish I’d seen The Fountain in a theatre. It deserves the biggest screen you can find. It’s a film I know I’ll have to watch again to fully appreciate. Even now, though, I’m still amazed by it. It is an existential mediation, a surreal yet very real exploration of love and grief and life and the universe and everything. From the DVD Talk review: “While acknowledging that The Fountain may not suit everyone’s fancy, I still advocate that everyone should see it. Darren Aronofsky has written a script that is philosophical, spiritual, and emotional, and he has somehow dressed it up in truly gorgeous clothes without disappearing up his own behind in a fit of pretentiousness. Working with marvellous performances by Hugh Jackman and Rachel Weisz, the director has made a movie that is both a heady rush and emotionally powerful, giving us a feast for our eyes while also stimulating our brains and our hearts. A very rare treat.” What he said. (And check out Jim Emerson’s blog for further commentary on the film.)
Kate Winslet and the rest of the cast are in top form in this ensemble piece that explores the mundanity and emotional complexity of domestic life for people with children. But don’t expect something cute from Little Children. This is an involving film, one that allows the emotional undercurrent to slowly reveal itself. The story is so well-constructed and intelligent in the way it develops the drama, it’s difficult not to be affected by the experience. An unusual film, kind of strange in places, but good.
The Science of Sleep is the most fun I’ve had watching a movie is 2007. Written and directed by Michel Gondry, it’s a trip to just sit back and watch the stuff that pours out of this guy’s head. The same goes for the main character of the movie. At least half the movie consists of his dream life where everything is created from clay, yarn, cardboard, cellophane, dried macaroni — the kind of things kids create in art class, but fully animated and interactive. The movie shares much the same look and feel of Eternal Sunshine of the Spotless Mind (which Gondry co-wrote and directed), but leans more towards the comedic side due in large part to the extremely likeable, childish performance by Gael Garica Bernal. Some might think of it as a love story, but it’s more about the exploration of the inner world of a guy who has a lot of growing up to do. Sort of. (The DVD commentary is strange and funny, too.)
12 and Holding is a powerful, engaging film that presents a more honest look at childhood than anything I’ve seen for years. It’s about a small group of young kids, each of them dealing with some difficult issues that arise from things happening at home (or not happening at home). There’s a fat kid trying to lose weight, a lonely girl looking for a father figure, and another guy dealing with a death in the family (which could be Stand By Me but not in any way nostalgic). It’s difficult not to immediately care about these kids because their reactions are so genuine. Except for maybe one small detail, everything that happens seems plausible, which only heightens the drama as all the stories come together in the end.
Away From Her is a quiet film about a couple dealing with Alzheimer’s disease — and it’s not depressing or melodramatic. The understated but perfectly nuanced performances from Gordon Pinsent and Julie Christie, together with Sarah Polley’s subtle direction, deliver an emotional punch without being overtly manipulative or insulting to the audience’s intelligence.
Dark Days is a fascinating documentary about a group of homeless people who live underground in abandoned subway tunnels in New York City, and shot entirely on film by someone with no previous film experience. It is one of the most incredible achievements in filmmaking I’ve ever seen. Be sure to watch the “making of” bonus material too. Documentaries don’t get much better than this.
Cinema Paradiso is a movie for people who love movies. It’s the story of a kid who works in a movie theatre in a small town in Italy and grows up to become a filmmaker. One of the best unapologetically nostalgic stories ever told on film (it reminds me of Radio Days, Woody Allen’s homage to Amaracord). This expanded version of the film is an improvement over the original North American release and will definitely please anyone who is already a fan.
The Double Life of Veronique is a beautiful film about two identical but unrelated woman living completely separate lives but who may or may not have an indirect influence on each other. Krzysztof Kieslowski remains my favourite director. His films are poetic, profound and mysterious. I saw Veronique years ago on VHS. Watching it again on DVD is like watching an entirely new film.