susy-7 Reviews

Person of Interest: If-Then-Else (2015) Season 4, Episode 11

Craftsmanship that we don't expect from network television

[10/10 · 1 February 2015]

Kudos to Nolan, et al., the writers and actors for this episode, If-Then-Else, which competes right up there with any episode of The Americans, Homeland and other cablers whose greatness everyone knows about **because we hear it all the time**. We do not hear much about PoI from the talking heads and it is certainly no media darling, perhaps because it is a CBS show, or because Jim Cavaziel's Reece's expressionless monotone, or maybe because many critics wrote it off early in the first season. I am glad we stayed with it, as over the years this show has become not just a strong ensemble piece, but one of the most tightly crafted dramas airing on television. And those characterizations that annoyed critics the first season (Reece's grumble-like monotone, the idea of an all-knowing government spying on us) either turned into an important part of the ensemble's interplay, or was revealed as a prescient warning -- "holy crap! the Government actually IS spying on us!"

This uniquely structured episode rewards us longtime viewers with character-driven humor, with pathos and even a sly wink that comes right up the 4th Wall barrier, without truly breaking it. At the same time, If-Then-Else was filmed beautifully with the kinds of additional touches that one does not expect from cost-conscious network shows.

Just, really good job to all involved in this roller coaster of an episode and thank you for respecting the intelligence, loyalty and discrimination of your audience.

Psych: Dual Spires (2010) Season 5, Episode 12

television masterpiece

[10/10 · 18 December 2010]

Really. It is.

An homage to Twin Peaks, and the usual Psych references to other pop culture, especially television shows, this entire episode is brilliant. To fully understand its conceit, you probably had to have been a fan of the original David Lynch Twin Peaks series, at least year one. If you were, then this Pysch episode will be one laugh out loud moment after another.

I can't get over how awesome this show is. It stuns me that the writers and producers put this much thought into one standalone episode in the middle of the season. I want to write them personally and thank them.

Brilliant.

Race with the Devil (1975)

Thinking about this movie for 30 years.

[21 June 2006]

I saw this movie at the drive-in with my parents when I was a kid. It scared me like nothing else had or has since. In fact, I wouldn't vacation in a motor home all through my childhood. After 3 decades have passed, I'm surprised how much I remember (the first encounter, the dog incident, the believers being everywhere, being surrounded). I can't say whether it's good or not, because I have not seen it since I was a kid. I know that I recently watched "Duel" (another nightmare-inducing childhood movie) with my 11 year old son who thought it was the most boring film ever. So what was scary to a kid in the 70s is apparently not very scary for today's kids. The funny thing is that while my parents didn't seem to pay much attention to the movie ratings of movies we saw, I pay A LOT of attention for my children and screen out as much violence, etc as possible. And STILL my young son thought Duel was BOR-ING. I wonder what we would think of this movie, 30 years later? I'd hate to be as disappointed as I was in re-watching Duel.

Still, in 1975 this movie completely freaked me out and gave me many nights of terror.

Update 2008: yep, I recently saw this movie on cable and boy, it's silly. :-P

Harold and Maude (1971)

A classic.

[8/10 · 19 January 2005]

This art house favorite is a timeless classic and recommended viewing for all post-Catcher In the Rye teenagers. To modern viewers, the Ruth Gordon creation of Maude probably seems trite, but her Maude was fresh, original and daring in 1970 and the pre-Sophie's Choice twist in her history that Harold discovers was likewise unanticipated by early viewers. Unfortunately, Ruth Gordon went on to recreate this character in lesser films throughout that decade and the character of the eccentric old lady has become rather shopworn.

The Cat Stevens soundtrack is probably one of the most effective use of pop music in film ever.

The Passion of the Christ (2004)

Powerful, beautiful, challenging, uplifting...and powerful again.

[10/10 · 1 March 2004]

I went into this movie with as open a mind as possible, but honestly expected to be assaulted with violence, and even if I was moved, I expected (based on reviews) that the "violence" would overwhelm just about every other reaction. I thought I would cry and endure and come out feeling drained, guilty and sad. IT WAS NOT AS I EXPECTED. The violence I had been prepared for was not what I had heard it was--I was not overwhelmed by the violent images, nor did I think the torture and violence done to Jesus was overwrought/overdone. And while I DID cry throughout the movie, what I found was I came out of the movie feeling--not profoundly sad, but rather uplifted and blessed. I felt a joy that completely took ahold of me. I wanted to hug the audience members and bless them and ask for their blessings and prayers. For believers, this is a must-see movie. For Catholics such as myself, all I can say is that this will "make real" our faith to you, and illuminate the most important week in the liturgical calendar, i.e. the Holy Week.

From a secular standpoint, Mel Gibson's movie is artistically stunning and the cinematography is as great as you have heard. The imagery that Gibson used will stay in my mind the rest of my life--the Bergman-esque Satan is probably the creepiest, most effective visualizations of evil ever. The power of that one image is alone enough to render this film important and groundbreaking.

I'd like to review this film and offer insights into from a non-religious standpoint for those of you who may be non-believers but are nevertheless interested in seeing this film to find out what all the fuss is about. However, I find that outside of the few comments I made above, I can only relate to the film on a spiritual level because for me it was a life-altering moment of faith for which I am eternally grateful to the filmmaker.

I hope that as many people as possible see and experience The Passion of the Christ.

Girl with a Pearl Earring (2003)

Some random thoughts on the themes of the movie. (spoilers)

[9/10 · 5 February 2004]

Although The Age of Innocence is late 1800s New York and Girl with a Pearl Earring is set in the 17th Century Holland, there is much in these films that are similar and I must say, Girl did much better with the themes than Age did. Both stories concern the characters' places in society--principally KEEPING those places. Vermeer and all his household are very aware of how precarious their finances are, and this point is reinforced throughout the film. Also, although Age's story was a love story, and it is unclear in Girl if this is a love story, there nevertheless exists in both a restrained sexuality and erotic tension. In fact, I felt that the tension was almost unbearable at times--the lingering camera shots showing the physical reactions of Griet and Vermeer to incidental interactions and especially to the more personal interactions (the piercing) made me feel as if I too had a hard time catching my breath.

The film substitutes many activities for sex and proves again that restraint is startlingly erotic and moving.

This is a luminous, beautifully made and brave film. I say brave because not often do directors ask their actors to forego dialogue in favor of emoting. Here the actors' emoting is underplayed, quiet and still. Without any dialogue telling us, we can see clearly that Vermeer is obsessive. Perhaps he is addicted to his artistry: while we assume he must find joy in it, it also seems to be tortuous and painful for him and removes him emotionally from his family. He shares is obsession with Griet; in fact, when she shows an aptitude, he forces her to become more involved. This too is a theme of Girl: forced servitude (to the point of non-sexual prostitution). Forced to work as a domestic servant, forced to mix paints, forced to model. It is interesting too, that Griet's participation in the painting is a conspiracy by her "betters" in society who each have their own reasons. Van Ruijven intends her rape, the mother-in-law intends to keep Vermeer employed and thus keep the household solvent and Vermeer, well, Vermeer intends many things. Principally, it seems that he is too obsessed to say no. Also, while not intending a physical violation of Griet in a sexual way, he nevertheless does physically and emotionally violate her. Her quiet compliance in the piercing scene is one of an innocent obeying and trusting. Vermeer understands this and though torn, he is compelled to go through with it. He blames Van Ruijven for the modelling, but one can see that he himself looks forward to the interplay.

When the wife discovers the deceit, it is interesting that no one points out to her that it is Griet who has saved the family by acquiesing to the demands of the patron. Though she is deceived, she is also a principle benefactor of Griet's trust and obedience. After being used for her purpose, she is sent packing.

The cinematography, art direction and editing are outstanding, as are the performances of all the actors. This is a film made by a sure hand, a director who knew the story and was not afraid to let the story unfold in a nuanced, natural way.

Patton (1970)

It was a classic from Day One.

[10/10 · 5 February 2004]

This movie is what a "Best Picture of the Year" should be--30 years after it's release, it's still potent, pertinent and deeply affecting. George C. Scott is magnificent. The direction, cinematography and editing are all outstanding. Has arguably the best score for any film ever--not one unforgettable theme or melody in the entire movie. I especially appreciate that the Director Schaffner doesn't lose sight of his focus (Patton) in the battle scenes and that focus doesn't blur over the worst (and strangest) characteristics of this fascinating man. The scene of Patton visiting with the commander of the tank company that had run out of gas and had to fight it out with the Germans (ending in hand to hand combat) remains one of the most powerful images of war in any movie ever.

A Ten now and forever.

Northfork (2003)

Graceful, spiritual daydreaming

[7/10 · 18 December 2003]

I saw Northfork and loved it. While I can understand this film not appealing to everyone, I would recommend those filmgoers who appreciate spending an afternoon watching clouds drift by or barges drifting down a river to take an opportunity to watch this film. It is full of slow, graceful moments and unhurried silences and the Polish brothers manage to create a dreamlike atmosphere. Some viewers may feel that the surrealism is overdone, but I definitely found the film to stay on this side of post-modernism. I felt transported into the Polish's own dream--or perhaps hallucination.

The cinematography is outstanding, very daring use of sepia tones to create that old Polaroid effect on the images, especially dramatic on the Big Skies of Montana, where the film takes place.

I like the story, such as it is, but the power of this film comes not from advancing a plot but rather experiencing the dream as it unfolds. I enjoyed the disparate characters and the subtle humor.

One interpretation of the film is that we are witnessing the final death hallucinations of one of the characters. The vividness and intricacy in which this character's mind is creating this fantasy reveals much about the power of our minds to ease pain, seek meaning and perhaps even to move beyond mere acceptance into an (almost) joyous expectation of death.

Northfork, with its elegiac look at the pre-death experience would be great on a double bill with Wandafuru Raifu (Afterlife), the wonderful Japanese film that deals with the time immediately following death. Both have elements of surrealism and hallucinatory images and silences, unexpected humor and an appreciation of the small things in life that in fact make our transitory lives the wonderful gift that they are.

After Life (1998)

confused about what I've been reading

[9/10 · 26 March 2000]

I had wanted to see this film since its US release, and when it came to a film festival in my area, I jumped at the chance to see it. First though, I checked here and a lot of what I read caused me to worry that the film would be a disappointment--too long, too "boring", not enough conflict. And I worried that my male friend who agreed to go with me would wonder what I had dragged him to.

No need to worry--this movie is awesome. Not just the idea but the execution as well. Both my friend and I think it is one of the best films we've seen ever. After having seen it, I don't understand all the people who complained that it is too long, that the production values suck, etc etc. All I can say is, if you are contemplating seeing this film, and it sounds interesting--don't let the negative comments here discourage you. The film is great!!!!

Das Boot (1981)

15 years and I'm still thinking about it

[10/10 · 8 September 1999]

Das Boot is not just a great war film: it's a great film period. Maybe it is true that epic themes make the greatest novels and films. Here is a movie that explores heroism, duty, patriotism, hope, fear and the futility of war--all grand themes--explored in the confined, and collapsing, spaces of a German u-boat.

I saw this film when I was a freshman in college during a weekend that I later dubbed my "depressing movie festival." (The Wall and Apocalypse Now were the other weekend "entries.") Of these films, it was Das Boot that haunted me--when I laid down at night, I saw Jurgen Proctow's pained blue eyes. When I woke in the morning, I felt as if I were escaping through the hatch of the submarine. I could not shake the images, and now some fifteen years later, I still remember how completely meaningless the movie made everything seem, and the nihilistic message stayed with me for a long, long time. How few films are there which affect the viewers on this level. To say this film is "powerful" seems so weak a description.

Part of the "power" of the film comes, I think, from a certain restraint in the direction. So often, films which aspire to move the audience quickly fall into melodrama, over-acting, and overblown images. Too much. These often succeed in the immediate response (usually crying) but fail to impact the viewer on anything more than a surface level. Here, it is the small moments which fill the screen. Everywhere, all around is War, but for these men as we witness them, war does not begin with a capital "W". It is reality, not a grand concept. The director lets the story shock and horrify the audience, not by forcing it, but by letting the story just tell itself. Drama, tension and resolution occur naturally in Das Boot, which contributes to the very real impact of the film.

Story is a 10, direction is a 10, acting is a 10 and the cinematography is a 10. One of the all-time greatest films.