Watching this film was a treat. Slow at times, but so stunningly poetic all the time, and once in a while, really intense. As if Kafka and Bergman had just watched "Eraserhead" and decided to do something together. Sort of.
Reviews
13 Reviews
Subconscious Cruelty
(2000)
Shocking, yes, but what else?
20 November 2000
This was definitely the most graphically disturbing film I've ever seen. Apparently, the sole purpose of the film is to shock and outrage people (according to the Stockholm Film Festival booklet), and I guess it does, but it doesn't really go any further than that. Or does it? I get the feeling that Karim Hussain has something to tell us, but it doesn't get through very well. I understand the reason for showing the things no-one dares to show, and I think that's good. But it is not presented very well, so people will not get the picture. The last section of the film is clearly a statement against American double standard of morality, and the modern mans loss of spirituality, and it is also the most intentionally apparent section.
The 'sound design' is great, very reminiscent to Lynch's Eraserhead. The music on the other hand, is most of the time inappropriate. The middle part of the film where people are indulging in an orgy with Mother Earth, is so badly scored the scene becomes silly, which is a shame. Hussain should have chosen music in the vein of Ligeti and Penderecki for a film like this (like Kubrick did).
If you want to see a shocking film that is dead serious all of the time, go for this one. Not for everyone, though. Or maybe it is?
The 'sound design' is great, very reminiscent to Lynch's Eraserhead. The music on the other hand, is most of the time inappropriate. The middle part of the film where people are indulging in an orgy with Mother Earth, is so badly scored the scene becomes silly, which is a shame. Hussain should have chosen music in the vein of Ligeti and Penderecki for a film like this (like Kubrick did).
If you want to see a shocking film that is dead serious all of the time, go for this one. Not for everyone, though. Or maybe it is?
Shadow of the Vampire
(2000)
Good film, but why Merhige?
19 November 2000
This is one of those films you just have to love. But I wonder why Mr. E. E. Merhige chose this to be his second film, after his ground-breaking and artistically explosive debut "Begotten" some ten years earlier. Begotten displayed evidence of pure talent and originality, and most of all a rebellion against mainstream (Hollywood) cinema. This film, on the other hand, is a straight-forward story, lacking in originality even when compared to some recent Hollywood products. Why will an artist reduce himself from a Bunuel to a Tim Burton?
The acting makes the film. Dafoe is great as Max Schreck, although perhaps a bit over-acting at times. Malkovich makes a superb german "Herr Doktor" with a flawless german accent. Udo Kier is as stale and uninspired as always (we love him though). But the real star here is Eddie Izzard, who pulls of a remarkable portrait of "Gustav". It's totally impossible to take him seriously, even for a second, but he gives the film so much - his subtle facial expressions are priceless.
Finally, I must give a hand to Dan Jones on his fantastic score, the most extraordinarily beautiful american film music in years. This is probably not the last we've heard from this aspiring composer.
Nice film, see it.
The acting makes the film. Dafoe is great as Max Schreck, although perhaps a bit over-acting at times. Malkovich makes a superb german "Herr Doktor" with a flawless german accent. Udo Kier is as stale and uninspired as always (we love him though). But the real star here is Eddie Izzard, who pulls of a remarkable portrait of "Gustav". It's totally impossible to take him seriously, even for a second, but he gives the film so much - his subtle facial expressions are priceless.
Finally, I must give a hand to Dan Jones on his fantastic score, the most extraordinarily beautiful american film music in years. This is probably not the last we've heard from this aspiring composer.
Nice film, see it.
Hotel Splendide
(2000)
A must see, despite the Jeunet/Caro-ripoff
19 November 2000
I love this film. It is stunning, visually and aesthetically beautiful, works perfectly as a whole and is perfectly crafted. What negative things could possibly be said about it? Well, the problem is, we've seen it before. In the films of the french duo Jean-Pierre Jeunet & Marc Caro.
Hotel Splendide is, in its essence, a typical Jeunet/Caro-film; you'll find that virtually all the characters and aesthetics are lifted from "Delicatessen" and "The City of Lost Children". A hint of Greenaway perhaps, and a fairly large portion of Britishness... what we end up with is an extraordinary, beautiful, funny and moving film. In itself, the film is fantastic. What brings it down a bit is the fact that you find 90 % of this film in the two films by the French duo (J&C), which suggests that although transformed, the ideas weren't originally the writer/director's own.
However, if we go beyond the surface of the film we find a nicely crafted story and some subtle philosophical symbolism - the characters' inner struggles and their blind faith (that makes them unhealthy and miserable, although believing the opposite) can be seen as a a statement against fanatic religious or political believes, and the repression of individualism and the free mind. It's not profound in any way, but it's there, conscious or not.
The ending is, I'm afraid, exactly what you expect. I wish it wasn't, but apparently that's how it has to be in a film like this. The music is most of the time very annoying because it's obviously synthesizers trying to sound like an orchestra, and it's not very well done. Utterly bad use of an oboe-sound in the lead melody so stale it is laughable, and some tasteless pizzicato-sounds that scream out "cheapness" (and what's with that crash cymbal?). All in all the synths don't blend very well with the warm and very well played live violin that occasionally appears and brightens the day.
Finally, a word on the acting. It is overall superb. Hugh O'Conor's portrait of Stanley Smith is spot-on, intense but never over-acted. Katrin Cartlidge too gives a moving performance, and last but not least, Toni Collette is amazingly spellbinding as lovely Kath.
Well acted, well directed and well done, although not as original as it might seem. A good film, though. See it.
Hotel Splendide is, in its essence, a typical Jeunet/Caro-film; you'll find that virtually all the characters and aesthetics are lifted from "Delicatessen" and "The City of Lost Children". A hint of Greenaway perhaps, and a fairly large portion of Britishness... what we end up with is an extraordinary, beautiful, funny and moving film. In itself, the film is fantastic. What brings it down a bit is the fact that you find 90 % of this film in the two films by the French duo (J&C), which suggests that although transformed, the ideas weren't originally the writer/director's own.
However, if we go beyond the surface of the film we find a nicely crafted story and some subtle philosophical symbolism - the characters' inner struggles and their blind faith (that makes them unhealthy and miserable, although believing the opposite) can be seen as a a statement against fanatic religious or political believes, and the repression of individualism and the free mind. It's not profound in any way, but it's there, conscious or not.
The ending is, I'm afraid, exactly what you expect. I wish it wasn't, but apparently that's how it has to be in a film like this. The music is most of the time very annoying because it's obviously synthesizers trying to sound like an orchestra, and it's not very well done. Utterly bad use of an oboe-sound in the lead melody so stale it is laughable, and some tasteless pizzicato-sounds that scream out "cheapness" (and what's with that crash cymbal?). All in all the synths don't blend very well with the warm and very well played live violin that occasionally appears and brightens the day.
Finally, a word on the acting. It is overall superb. Hugh O'Conor's portrait of Stanley Smith is spot-on, intense but never over-acted. Katrin Cartlidge too gives a moving performance, and last but not least, Toni Collette is amazingly spellbinding as lovely Kath.
Well acted, well directed and well done, although not as original as it might seem. A good film, though. See it.
Dancer in the Dark
(2000)
von Trier is one brave director
28 September 2000
There aren't many "serious" directors that would have the guts to make this kind of film. Luckily, people like Lars von Trier are around.
von Trier's ability to tell stories of the truly good human being is outstanding, this film, as well as "Breaking the Waves", is practically up there with Dostoyevsky's "The Idiot" - all three of these works made me cry like a baby.
Oh, and Björk is fantastic. She suffered hard, but it made a beautiful work of art. Good bless her. And Lars.
von Trier's ability to tell stories of the truly good human being is outstanding, this film, as well as "Breaking the Waves", is practically up there with Dostoyevsky's "The Idiot" - all three of these works made me cry like a baby.
Oh, and Björk is fantastic. She suffered hard, but it made a beautiful work of art. Good bless her. And Lars.
Lost Highway
(1997)
Remarkable effort by Lynch and Gifford
25 September 2000
Out of the tons of films I've seen, only a handful has changed the way I feel, think and experience life. Out of this handful, only one has kept me ACTIVELY occupied for more than hundred hours after seeing it for the first time - this being Lost Highway.
Lynch is a genius filmmaker. He follows in the steps of recent masters like Tarkovsky and Bergman, making films that won't force its contents on you, but films that allow the viewer to construct a meaning out of the multiple impressions it presents. Lost Highway does exactly that - it's like this game where you are to connect the dots with lines - but this time the dots aren't numbered, and they can be connected in a large number of ways, thus presenting different results.
I've seen this film six times, each time I discover new possibilities, and each time I think I've got it all figured out. But then I talk to another film buff, who presents a completely new angle. I've read some of the comments on this site, and find a lot of them interesting, especially the ones comparing it to Faust.
To sum it all up: if you have an open mind, a genuine interest in cinematic art and want a film that lives with you forever, this is the one. For those of you who've seen it and want to dig deeper into it's core, I suggest you read the articles and essays on the film available on the internet.
Lynch is a genius filmmaker. He follows in the steps of recent masters like Tarkovsky and Bergman, making films that won't force its contents on you, but films that allow the viewer to construct a meaning out of the multiple impressions it presents. Lost Highway does exactly that - it's like this game where you are to connect the dots with lines - but this time the dots aren't numbered, and they can be connected in a large number of ways, thus presenting different results.
I've seen this film six times, each time I discover new possibilities, and each time I think I've got it all figured out. But then I talk to another film buff, who presents a completely new angle. I've read some of the comments on this site, and find a lot of them interesting, especially the ones comparing it to Faust.
To sum it all up: if you have an open mind, a genuine interest in cinematic art and want a film that lives with you forever, this is the one. For those of you who've seen it and want to dig deeper into it's core, I suggest you read the articles and essays on the film available on the internet.
eXistenZ
(1999)
Pure Cronenberg.
29 April 2000
A cute little piece of cinema, this. It does seem like Cronenberg borrowed a few ideas from the novel "Vurt" by Jeff Noon - a book I recommend to those who liked this movie. Nice to see a bit of existentialism in a Hollywood flick, although it's on a somewhat puerile level.
The movie has plenty of the organic weirdo disgusto stuff we've come to expect from Cronenberg, and special effect buffs won't be disappointed (except for maybe that plastic waiter head that blew the vision). All in all a nice, amusing little flick, see it.
The movie has plenty of the organic weirdo disgusto stuff we've come to expect from Cronenberg, and special effect buffs won't be disappointed (except for maybe that plastic waiter head that blew the vision). All in all a nice, amusing little flick, see it.
Dark Star
(1974)
Just what was Carpenter smoking?
5 February 2000
Well, this was an experience. I feel oddly attracted to this piece of cinematic weirdness, it has a certain touch of poetry one normally doesn't find in films like these.
I think I would say it's 50% brilliant and 50% total garbage - it has a lot of wonderful ideas but it really has tons of weak spots. Ten minutes hunting down an alien beachball, followed by ten minutes hanging from an elevator going up and down for no reason whatsoever, is not my idea of cinematic magic. The wonderfully twisted 'glass and wood'-organ piece, however, is.
Don't miss this one. All in all, it's worth the 80 minutes.
I think I would say it's 50% brilliant and 50% total garbage - it has a lot of wonderful ideas but it really has tons of weak spots. Ten minutes hunting down an alien beachball, followed by ten minutes hanging from an elevator going up and down for no reason whatsoever, is not my idea of cinematic magic. The wonderfully twisted 'glass and wood'-organ piece, however, is.
Don't miss this one. All in all, it's worth the 80 minutes.
Stalker
(1979)
Beautiful, important, intelligent.
31 October 1999
My introduction to Tarkovsky, this film is one of the best I've ever seen. It deals with a lot of truly important subjects - such as individualism, science, religion, existentialism and so on - it's a fantastic movie, beautifully filmed, truly wonderful. It meant a lot to me, it may mean a lot to you. See it!
Faust
(1994)
I don't know, it didn't grip me.
30 April 1999
I had wanted to see this film for a long time, and had big expectations I sat down with my purchased copy, but unfortunately it didn't quite make it for me. I think it's those annoying marionettes spending half the movie running around making silly noises. The movie didn't grip me. 'Alice' was better.
Don't judge this film too quickly.
30 April 1999
It appears most people find this movie to be sick, pointless, and without substance. That's unfair.
This is the strongest movie I've ever seen, and it made an IMPORTANT impression on me, a big horrorflick-devotee. It made me question a lot of things about former favourite films, and made me realize how sick it is to make horror and violence into entertainment. The problem with most movies is that violence is not portrayed violent enough, horror isn't portrayed horrible enough. Most 'thriller' films have these ingredients softened so that people can enjoy it, and THAT'S sick. This movie is SANE. It shows horror and violence as it IS - totally revolting and disgusting.
I sat as on needles for 1 hour 40 minutes, and felt really bad watching this film. It grossed me out, but I understood why this film is both good and important. It gives a sane perspective on violence, as opposed to SICK, SICK Hollywood-action where people get killed by 'heroes' and nobody raises an eyebrow.
This is the strongest movie I've ever seen, and it made an IMPORTANT impression on me, a big horrorflick-devotee. It made me question a lot of things about former favourite films, and made me realize how sick it is to make horror and violence into entertainment. The problem with most movies is that violence is not portrayed violent enough, horror isn't portrayed horrible enough. Most 'thriller' films have these ingredients softened so that people can enjoy it, and THAT'S sick. This movie is SANE. It shows horror and violence as it IS - totally revolting and disgusting.
I sat as on needles for 1 hour 40 minutes, and felt really bad watching this film. It grossed me out, but I understood why this film is both good and important. It gives a sane perspective on violence, as opposed to SICK, SICK Hollywood-action where people get killed by 'heroes' and nobody raises an eyebrow.
Hour of the Wolf
(1968)
Truly intense, superb horror.
30 April 1999
This is the film about an artist (Max von Sydow), heavily troubled by nightmares, trying to deal with his life of anguish on a small island together with his wife. The film is creepy, intense, and very surreal.
I feel certain that David Lynch has watched this film more than once - there are echoes of it in both Eraserhead and the last episode of Twin Peaks.
I feel certain that David Lynch has watched this film more than once - there are echoes of it in both Eraserhead and the last episode of Twin Peaks.
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