Danny Boyle has always been an indie favourite, consistently producing excellent films in many different genres. However, his films never enjoyed the box-office reach they deserved. That is, until his 2008 surprise blockbuster Slumdog Millionaire broke all expectations. It was a film that would then allow Danny Boyle to create whatever film project he wanted, with presumably whatever budget he needed. This is a dream situation for any director, but instead of taking the opportunity to direct a massive budget film, he writes and directs, 127 Hours. The film, which tells the incredible true story of Aron Ralston, could be handled in incredibly different ways. Luckily, Boyle's film about a man having to cut off his own arm doesn't leave you feeling depressed, but rather it is energetic and life-affirming. The film doesn't tone down any of the difficult aspects, in fact it throws them right in your face. However, what makes this film so fantastic, is that Boyle's style matches Ralston's view on life and explanation for surviving the awful ordeal. The film begins at a furiously kinetic pace, one you would be hard pressed to find in an action film. It is a jolt to the senses and it sets the perfect mood for the film. It is not making light of a terrible situation but rather putting you in the mind set that Aron Ralston was in before the accident occurred. What makes this directorial decision so important is the fact that without understanding the kind of person he was, we couldn't understand how he survived the awful ordeal he was in. This is what makes Boyle perfect for the material, where another director would most likely go very minimalist, Boyle goes all out in terms of style, without ever losing the emotional connection. Boyle's stylistic choices heighten emotional integrity where as other directors' use of style is often just visual stimulation. As important Boyle's direction was to making the film great, if it were not for James Franco's performance as Aron, the film would have failed. Franco gives one of the strongest performances of his career, if not his best. His performance could very easily have become showy and overly dramatic, yet Franco was smart enough to restrain himself until the moment called for dramatics. It would be a real shame to forget the unsung heroes of this film, the two directors of photography; Enrique Chediak and Anthony Dod Mantle. As the film features, for the most part, one man on screen for the duration, Boyle decided to make the visuals into their own characters. To do this, he employed two fantastic directors of photography to make the visuals competing characters. As the film progressed, remembering the incredibly impressive shots became harder and harder, to a point where I lost count. The film features some of the most memorable shots of Boyle's career, many of which leave you wondering how they possibly accomplished them. Danny Boyle has made a career of films about men who are pushed to their absolute limits, yet the films always leave you feeling better than when you arrived. He does not muddy his films with sentimentality or out of place scenes to make the audience feel better, but his films still leave you feeling an energy for life. It is his talent of finding the strength within people and his natural ability to present it to us that makes his films so powerful. 127 Hours is one of the rare films that leaves an audience in their seats during the credits, and for many, even after the credits are done their scroll.
Reviews
7 Reviews
127 Hours
(2010)
127 Hours is a fantastic look at the strength of the human spirit.
29 November 2010
Warning: Spoilers
Never Let Me Go
(2010)
Never Let Me Go is a devastatingly beautiful film.
18 October 2010
Warning: Spoilers
It is not often that you come home from a film feeling both defeated and genuinely happy. While these would appear to be contradicting emotions, that is exactly how I felt coming from Mark Romanek's Never Let Me Go. The film, written by Alex Garland and based on the novel of the same name by Kazuo Ishiguro, is beautiful and emotionally devastating at the same time. The film opens in the 1970's, focusing on the lives of three school children in an English private school. Although at first sight the setting appears normal enough, we quickly discover these are not normal children, as they exist solely to have their organs harvested once they become adults. Never Let Me Go seamlessly combines period drama and science fiction. The alternative reality we are shown is never fully explained nor needs to be. The film is purely about the three main characters: Kathy, Tommy and Ruth. It is the film's deep focus on the emotions and personalities of the characters that makes it fascinating. The world they live in is simply there--reality for them--no explanations needed. A film as personal as this relies heavily on the actors; and without their strong performances the film would have fallen flat. An Education's Carrie Mulligan stars as Abbie, a girl who does not act but rather observes. Andrew Garfrield plays Tommy, who Kathy has been in love with since they were children. Keira Knightley is provides the most surprising performance as Ruth, who jealously falls for Tommy. Fortunately, no one disappoints, in fact, they all exceed expectations. As these characters are shielded from normalcy, the performances we get portray them as innocents. This is especially true of Andrew Garfield, who plays Tommy as a naive, innocent teenager who wants nothing more than to live longer than he is programmed to. It is his performance that stands out, it is understated, but still emotionally heart wrenching. The difficulty in reviewing this film for me comes from the emotional impact it had. Many films will tug at the heart strings, manipulating the audience into feeling a sadness that is not real. This film does not manipulate, it has a genuine sadness at its core that leaves you devastated. No film has left me on the verge of tears as much as this one has. In an age of formulaic films, it is utterly refreshing to see something so genuine on screen, even though the characters' situations are foreign to the audience. Alex Garland has often been criticized for his inability to write logical conclusions to his films. While I personally don't agree with that, Never Let Me Go proves that wrong. The final act of the film doesn't try to trick us into feeling for the characters as we already do. The characters reunite after years apart from each other; now, closer to the end, they spend what could be their last days together. There is no twist to the film, it ends exactly how we know it will, and that is where the sadness comes from. We know the fates of these characters, and the films' focus is on their struggle to accept their fate just as we have had to. Mark Romanek is a veteran music video director, and Never Let Me Go is only his second feature film, although you wouldn't know it. Romanek shows a maturity and patience behind the camera that is not only rare for young filmmakers but for veteran ones as well. His use of focus leads to one of the most beautifully shot films of the year, if not the most. Never Let Me Go is without a doubt my favourite film of the year, so far. It had the emotional impact that I usually judge a film's quality on. The fact it is not being talked about more is truly a bewildering shame. I fear it will be forgotten, as dramas that do not garner Oscar attention usually do.
The Social Network
(2010)
A very good but flawed film.
2 October 2010
"You're not an asshole, Mark. You're just trying so hard to be one." This statement, uttered by a lawyer, played by Rashida Jones, describes David Fincher's The Social Network quite well. It is not a great film, but it is trying very hard to be one. That being said, it is certainly a good one. When it was announced, people reacted to the idea of a film about Facebook similarly to a Transformers film being made. For the most part , all the write-ups about the film were filled with cynicism and negativity. To people's surprise Aaron Sorkin would write and David Fincher would direct. Following its premiere, mountains of praise were heaped on the film, which for the most part was deserved.
To me, this film is hard to review. On the surface, there is much to praise. Fantastic performances, great cinematography and direction, with some great writing, yet, I come out of feeling nothing. There was an emotional disconnect between the film and me - something was lacking. The film is exceptionally well made, it has great style, and Fincher deserves a lot of credit for what he has done. However, the problem I had was I didn't care about the characters. Mark Zuckerberg, played by Jesse Eisenberg, is not meant to be a hero, in fact he is portrayed as a prick. Someone constantly condescending due to his insecurity and superior intellect. We are not given any characters that we can attach ourselves to, which isn't always a problem but the story was told in such a way that it didn't suck me in either.
The performances are great across the board, and most surprisingly, the stand out for me is Justin Timberlake, who disappears into his role. He plays Napster creator Shawn Fanning as a slightly delusional, paranoid entrepreneur.
Aaron Sorkin, like David Mamet or Quentin Tarantino, has a very stylized way of writing dialogue. It either works for you, or doesn't. Fortunately, it did work and some very enjoyable exchanges are present in this film. The problem isn't with the dialogue, but with the way the story is told, constantly cutting forward in time to his meetings with his lawyers and the people suing him. This gives the film an almost procedural feel, and leaves me cold.
Fincher has made some very good films, but never has he made a truly great one. They never emotionally connect, and I blame this on his style. The film is beautifully shot, but it is the way it is shot that I had the most problem with. It is too clean, too composed. It is style versus emotion, and style wins out. It is quite obvious he started his career as a commercial and music video director in this film. This is certainly not always a bad thing, but on this film, which needs us to connect with at least one of the characters, the lack of emotion keeps me from really loving this film.
I will say that the final scene almost made up for it, it is humorous yet strangely disturbing. Unfortunately, the ending came out of nowhere. There was no build up, it appears as if several scenes were cut leading up to the ending. It, instead, uses text during the final shot to clear up all of the loose ends, which there are many. The film doesn't care about its characters, and this proves it.
It may come off strange that I will still recommend the film, but I do. It is very good, and interesting. Certainly better than most of the films released in the last couple of months. That being said, it has flaws, significant ones, and for that it fails as a great film, but succeeds as a good one.
For more reviews and articles about film check out my blog: The Deleted Scene http://thedeletedscene.wordpress.com
To me, this film is hard to review. On the surface, there is much to praise. Fantastic performances, great cinematography and direction, with some great writing, yet, I come out of feeling nothing. There was an emotional disconnect between the film and me - something was lacking. The film is exceptionally well made, it has great style, and Fincher deserves a lot of credit for what he has done. However, the problem I had was I didn't care about the characters. Mark Zuckerberg, played by Jesse Eisenberg, is not meant to be a hero, in fact he is portrayed as a prick. Someone constantly condescending due to his insecurity and superior intellect. We are not given any characters that we can attach ourselves to, which isn't always a problem but the story was told in such a way that it didn't suck me in either.
The performances are great across the board, and most surprisingly, the stand out for me is Justin Timberlake, who disappears into his role. He plays Napster creator Shawn Fanning as a slightly delusional, paranoid entrepreneur.
Aaron Sorkin, like David Mamet or Quentin Tarantino, has a very stylized way of writing dialogue. It either works for you, or doesn't. Fortunately, it did work and some very enjoyable exchanges are present in this film. The problem isn't with the dialogue, but with the way the story is told, constantly cutting forward in time to his meetings with his lawyers and the people suing him. This gives the film an almost procedural feel, and leaves me cold.
Fincher has made some very good films, but never has he made a truly great one. They never emotionally connect, and I blame this on his style. The film is beautifully shot, but it is the way it is shot that I had the most problem with. It is too clean, too composed. It is style versus emotion, and style wins out. It is quite obvious he started his career as a commercial and music video director in this film. This is certainly not always a bad thing, but on this film, which needs us to connect with at least one of the characters, the lack of emotion keeps me from really loving this film.
I will say that the final scene almost made up for it, it is humorous yet strangely disturbing. Unfortunately, the ending came out of nowhere. There was no build up, it appears as if several scenes were cut leading up to the ending. It, instead, uses text during the final shot to clear up all of the loose ends, which there are many. The film doesn't care about its characters, and this proves it.
It may come off strange that I will still recommend the film, but I do. It is very good, and interesting. Certainly better than most of the films released in the last couple of months. That being said, it has flaws, significant ones, and for that it fails as a great film, but succeeds as a good one.
For more reviews and articles about film check out my blog: The Deleted Scene http://thedeletedscene.wordpress.com
Lebanon
(2009)
A film that will leave a mark!
4 September 2010
The true sign of a great film is the emotional mark it leaves once the credits finish their upwards scroll. It is easy to make you laugh or cry during a film but most will not leave you with a lasting emotional change. Samuel Maoz' autobiographical Israeli war film Lebanon not only affects you during the film but even more so after, which is what makes this film a great accomplishment.
The film tells the story of Shmulik, based on the director's own experiences as a tank gunner in the Israel/Lebanon war. With most war films you are expecting something bleak, but unless you've seen another Israeli war film, it is hard to be prepared for just how bleak it will be.
What Maoz does, instead of giving us a direct story, is create a mood, which grounds the film. While this mood is consistent throughout, it grows and intensifies, keeping the audience engaged. Moaz is a first-time director and while that is apparent, it is in no way a bad thing. The direction is experimental, yet grounded and straight-forward. With the exception of two shots, the film takes place entirely within the tank. Although we do get frequent glimpses of the outside world, it is, however, exclusively through the crosshairs of the tank.
This gives us a very specific view of the war, one of self-hate and uncertainty. This film in no way glorifies war. Unlike American war films, which often are so caught up in patriotism to do any real self-reflection, Lebanon, is a film that questions the war they are forced to take part in. Like last year's part doc, part animated war film, Waltz with Bashir, the film is self- reflective, a way for the director to deal with his experiences.
In some ways, it condemns Israel, but at the same time condemns war in general. It is hard for the audience to make a concrete decision on the politics of the film, as we don't know why any of this is happening. The film is purposely confusing, at no time do we know where these soldiers are going or why. It desperately wants us to be in the same shoes as the characters and it does this effectively. If this were not the case, the film would easily fail, due to its lack of story.
As tension rises and claustrophobia sets in, you begin to feel uneasy. Just as the film becomes too much to handle, a strikingly effective ending hits us by surprise and let's the tension valves go. While the tension may be lifted, as the credits roll, the haunting feeling of depression and uncertainty lingers. It is a strange feeling, one I have only felt after my first viewing of Children of Men.
This is a film that will leave a mark on you, and while it may be great, I don't know if I could ever watch it again. It is an experience, a film that film fans should see. It is however, very difficult to describe it as enjoyable.
The film tells the story of Shmulik, based on the director's own experiences as a tank gunner in the Israel/Lebanon war. With most war films you are expecting something bleak, but unless you've seen another Israeli war film, it is hard to be prepared for just how bleak it will be.
What Maoz does, instead of giving us a direct story, is create a mood, which grounds the film. While this mood is consistent throughout, it grows and intensifies, keeping the audience engaged. Moaz is a first-time director and while that is apparent, it is in no way a bad thing. The direction is experimental, yet grounded and straight-forward. With the exception of two shots, the film takes place entirely within the tank. Although we do get frequent glimpses of the outside world, it is, however, exclusively through the crosshairs of the tank.
This gives us a very specific view of the war, one of self-hate and uncertainty. This film in no way glorifies war. Unlike American war films, which often are so caught up in patriotism to do any real self-reflection, Lebanon, is a film that questions the war they are forced to take part in. Like last year's part doc, part animated war film, Waltz with Bashir, the film is self- reflective, a way for the director to deal with his experiences.
In some ways, it condemns Israel, but at the same time condemns war in general. It is hard for the audience to make a concrete decision on the politics of the film, as we don't know why any of this is happening. The film is purposely confusing, at no time do we know where these soldiers are going or why. It desperately wants us to be in the same shoes as the characters and it does this effectively. If this were not the case, the film would easily fail, due to its lack of story.
As tension rises and claustrophobia sets in, you begin to feel uneasy. Just as the film becomes too much to handle, a strikingly effective ending hits us by surprise and let's the tension valves go. While the tension may be lifted, as the credits roll, the haunting feeling of depression and uncertainty lingers. It is a strange feeling, one I have only felt after my first viewing of Children of Men.
This is a film that will leave a mark on you, and while it may be great, I don't know if I could ever watch it again. It is an experience, a film that film fans should see. It is however, very difficult to describe it as enjoyable.
The American
(2010)
A superb classy, 70's style thriller
1 September 2010
A hit man losing his nerve and wanting out is one of the most played-out story lines in film history. But as with all over used story lines, a good film can move past the cliché with its creativity and cinematic integrity; Anton Corbijn's second film The American, does just that.
Film director Howard Hawk once said "a good movie is three good scenes and no bad ones", The American is a great example of just that as the film opens with one of those great scenes. Setting the mood perfectly, the film begin as an attempt on Clooney's character's life goes wrong, sending him to Italy to meet with his employer and lay low.
The plot of this film is not as important as the mood it creates. While it is slow, in no way does it meander. The pace is very deliberate, just as everything in this film is. The shots seem to be planned out perfectly, and the cinematography is strikingly beautiful. While the music, composed by Herbert Gronemeyer, is sparse; when it is used, it is to great effect, amplifying the mood of the scene.
This kind of filmmaking may leave some people cold, especially in the first half of the film, but Clooney's masterful performance really cements an emotional connection with the audience. The love story of the film unfolds very much as one would expect with Clooney falling in love with a beautiful Italian prostitute, played by Violante Placido. But just like everything else in the film, what could have been clichéd and boring, comes off intriguing due to the actors' performances and the filmmaking.
One flaw does rear its ugly head, and that is in the writing. Like the rest of the film, the writing is sparse and subdued, which can be a good thing, however some of the dialogue is strictly paint-by-numbers. The only other large flaw is an underdeveloped subplot involving Clooney befriending an priest, which seems to go nowhere.
However, even with these flaws, I still enjoyed the film in it's entirety because of its style and mood.
From the opening credit sequence, you can tell this film is not of its time. I do not want to say it is a homage or tribute to 70's thrillers, because I do not think it is. Corbijn's style is simply just old fashioned, in a very good way.
The women are beautiful, with a look and a certain class we don't see much in film anymore. And that is what makes the whole film work. It has a classiness to it that is very rare in thrillers today. No shaky cam, or mile-a-minute pacing, instead we get a perfectly thought out thriller that takes its time to make its characters interesting and believable.
The film's beginning and end were superb scenes. The final action scene is one of the most exciting I have had the pleasure of watching. I had no idea what was going to happen and where these characters were going to end up.
The American may not be fast paced or action packed, but it is one of the best thrillers I have seen in a long time. While for some it may demand a certain level of patience, it rewards you with is a smart, beautifully shot, distinct thriller. A rarity these days.
If you liked this review check out my blog at http://thedeletedscene.wordpress.com
Film director Howard Hawk once said "a good movie is three good scenes and no bad ones", The American is a great example of just that as the film opens with one of those great scenes. Setting the mood perfectly, the film begin as an attempt on Clooney's character's life goes wrong, sending him to Italy to meet with his employer and lay low.
The plot of this film is not as important as the mood it creates. While it is slow, in no way does it meander. The pace is very deliberate, just as everything in this film is. The shots seem to be planned out perfectly, and the cinematography is strikingly beautiful. While the music, composed by Herbert Gronemeyer, is sparse; when it is used, it is to great effect, amplifying the mood of the scene.
This kind of filmmaking may leave some people cold, especially in the first half of the film, but Clooney's masterful performance really cements an emotional connection with the audience. The love story of the film unfolds very much as one would expect with Clooney falling in love with a beautiful Italian prostitute, played by Violante Placido. But just like everything else in the film, what could have been clichéd and boring, comes off intriguing due to the actors' performances and the filmmaking.
One flaw does rear its ugly head, and that is in the writing. Like the rest of the film, the writing is sparse and subdued, which can be a good thing, however some of the dialogue is strictly paint-by-numbers. The only other large flaw is an underdeveloped subplot involving Clooney befriending an priest, which seems to go nowhere.
However, even with these flaws, I still enjoyed the film in it's entirety because of its style and mood.
From the opening credit sequence, you can tell this film is not of its time. I do not want to say it is a homage or tribute to 70's thrillers, because I do not think it is. Corbijn's style is simply just old fashioned, in a very good way.
The women are beautiful, with a look and a certain class we don't see much in film anymore. And that is what makes the whole film work. It has a classiness to it that is very rare in thrillers today. No shaky cam, or mile-a-minute pacing, instead we get a perfectly thought out thriller that takes its time to make its characters interesting and believable.
The film's beginning and end were superb scenes. The final action scene is one of the most exciting I have had the pleasure of watching. I had no idea what was going to happen and where these characters were going to end up.
The American may not be fast paced or action packed, but it is one of the best thrillers I have seen in a long time. While for some it may demand a certain level of patience, it rewards you with is a smart, beautifully shot, distinct thriller. A rarity these days.
If you liked this review check out my blog at http://thedeletedscene.wordpress.com
Scott Pilgrim vs. the World
(2010)
An Almost Perfect Action Romance
13 August 2010
The opening sequences of a film are some of the most important in framing the audience's general opinion. If your film leads with a clunky start, then it is very difficult to win the audience back. Fortunately for Edgar Wright's latest film, Scott Pilgrim Vs The World, the opening is nearly perfect. From the 8-Bit version of the Universal logo to our first encounter with Scott Pilgrim and his friends, the audience is won over and the film just gets better from there.
Edgar Wright's previous films, Shaun of The Dead and Hot Fuzz both take place in the same universe, and they are in certain ways connected. Scott Pilgrim, is Wright's first film outside of this universe and he demonstrates that he can shift from his stylistic comfort zone's quite drastically and still make a great film.
The most important part of the film, is likely its look. In this critical area, the film takes its cues from video games, comics, martial arts and romantic films. As diverse as they are, all these visual inspirations do mesh quite perfectly--proof that Wright is a legitimate talent.
When Michael Cera was announced you could almost hear the universal sigh across the internet (something I didn't share, as I think with the right material he is quite an enjoyable screen presence). While in this film he doesn't quite move past people's expectations, this material is perfect for him and he really shines. .
Across the board, the cast is quite good, with the exception of Anna Kendrick, who plays Scott's sister. Kendrick is quite unconvincing as a young bitchy teenage girl.
The stand outs are quite obviously the evil exes, especially the future Captain America, Chris Evans and the former Superman Brandon Routh, who are both hilarious and steal the show from Cera.
The film features also easily one of the coolest soundtracks in years, with original songs by Beck and Metric, with the score by Radiohead's producer Nigel Godrich. Godrich's score features many references to video game music as well as other films, however it doesn't just seem to be there for the sake of reference, as it taps your nostalgia to make you feel different emotions for the respective scenes.
Part of the charm of the film comes from all the surprises hidden within. However, with all Wright films, there is so much layering and attention to detail, I am sure I have only uncovered the surface.
To fully appreciate this will require repeat viewings, which in the case of this film, will not be a chore..
Audience expectations for this film couldn't be higher, but it seems that the gamble of extensive previewing of the film has paid off as hyperbolic praise was splashed out all over the Internet.
This praise, while mostly deserved, does ignore the films flaws, which while slight, do need to be mentioned. The film is fast paced, incredibly so and that is, unfortunately to its detriment. The main problem I had with the film is that it lacks an emotional connection, partially due to its hyper-paced action.
The film needed slightly more weight to it, more time to develop Scott and Ramona's relationship. After Scott's initial obsession becomes a mutual relationship, we don't see it develop and that is a large problem as we try to understand why he is kung fu fighting all her exes.
Having said this, I also share much of the universal enthusiasm for the film as it is a purely original creation It, like Avatar, has a quality very rare in film these days: wonder. Wonder, imagination and, not to mention, a love for filmmaking, which often transcends any flaws the film may have.
It is extremely rare for a film to be flawless—this film is not. However it is so easy to look past these and enjoy quite completely everything Wright puts on screen, yes, even Michael Cera.
If you liked the review, check out my film blog. http://thedeletedscene.wordpress.com
Edgar Wright's previous films, Shaun of The Dead and Hot Fuzz both take place in the same universe, and they are in certain ways connected. Scott Pilgrim, is Wright's first film outside of this universe and he demonstrates that he can shift from his stylistic comfort zone's quite drastically and still make a great film.
The most important part of the film, is likely its look. In this critical area, the film takes its cues from video games, comics, martial arts and romantic films. As diverse as they are, all these visual inspirations do mesh quite perfectly--proof that Wright is a legitimate talent.
When Michael Cera was announced you could almost hear the universal sigh across the internet (something I didn't share, as I think with the right material he is quite an enjoyable screen presence). While in this film he doesn't quite move past people's expectations, this material is perfect for him and he really shines. .
Across the board, the cast is quite good, with the exception of Anna Kendrick, who plays Scott's sister. Kendrick is quite unconvincing as a young bitchy teenage girl.
The stand outs are quite obviously the evil exes, especially the future Captain America, Chris Evans and the former Superman Brandon Routh, who are both hilarious and steal the show from Cera.
The film features also easily one of the coolest soundtracks in years, with original songs by Beck and Metric, with the score by Radiohead's producer Nigel Godrich. Godrich's score features many references to video game music as well as other films, however it doesn't just seem to be there for the sake of reference, as it taps your nostalgia to make you feel different emotions for the respective scenes.
Part of the charm of the film comes from all the surprises hidden within. However, with all Wright films, there is so much layering and attention to detail, I am sure I have only uncovered the surface.
To fully appreciate this will require repeat viewings, which in the case of this film, will not be a chore..
Audience expectations for this film couldn't be higher, but it seems that the gamble of extensive previewing of the film has paid off as hyperbolic praise was splashed out all over the Internet.
This praise, while mostly deserved, does ignore the films flaws, which while slight, do need to be mentioned. The film is fast paced, incredibly so and that is, unfortunately to its detriment. The main problem I had with the film is that it lacks an emotional connection, partially due to its hyper-paced action.
The film needed slightly more weight to it, more time to develop Scott and Ramona's relationship. After Scott's initial obsession becomes a mutual relationship, we don't see it develop and that is a large problem as we try to understand why he is kung fu fighting all her exes.
Having said this, I also share much of the universal enthusiasm for the film as it is a purely original creation It, like Avatar, has a quality very rare in film these days: wonder. Wonder, imagination and, not to mention, a love for filmmaking, which often transcends any flaws the film may have.
It is extremely rare for a film to be flawless—this film is not. However it is so easy to look past these and enjoy quite completely everything Wright puts on screen, yes, even Michael Cera.
If you liked the review, check out my film blog. http://thedeletedscene.wordpress.com
Inception
(2010)
Nolan's first true masterpiece
12 July 2010
Usually I try to be careful with over hyping a film, or setting the expectations too high, as film geeks all are guilty for, however for Christopher Nolan's Inception, this really is not possible.
This is possibly one of the only perfect films I have ever seen. It is absolutely confident in every way, something which is extremely refreshing, even more so than Avatar. Christopher Nolan gets some slack for making great to look at but ultimately heartless affairs, which I for one do not agree with, however I do not think anyone can argue that here. The emotional aspect of this film not only ties it all together but is really the centre of this film, it is the focus.
I do not want to over simplify the film, by simply calling it Kubrick doing Bond, or Gondry on a huge budget, because I am sure it will be called that but it is far more than that, it is something I do not think Kubrick could have ever made. It is pure Nolan, and pure greatness.
I hate writing something which is pure fan-boy gushing, but its really difficult here. I did not find a thing I did not like about it, I am sure if maybe I saw it a second time, maybe I would find something about it I didn't like, but not the first time. The way it is cut, means that there is always action on screen, if not, then the visuals are interesting enough to keep your eyes glued.
The final hour of the film, is possibly one of the most complicated action sequences put on film. You have to constantly be paying attention to remember all of the layers of what is happening. Without spoiling anything, all I have to say is that is what this film is about, that is what makes this film so great, layers. Once you have seen this you will now what I am talking about.
All of the actors are fantastic too, Di Caprio is the stand out here. Yes, this is probably due to the fact he is the star and given all of the emotional weight, but he handles it perfectly, similarly to his performance in Shutter Island. Ellen Page, whom I usually hate, gives a great performance here. Tom Hardy gives a break out performance here, he is quite the bad ass.
I hope audiences are ready for a film like this, a pure auteur driven film which does not sacrifice a single frame for the studio. I would hope this film will change Hollywood, as it is 100 percent the directors vision yet it is definitely a marketable film, much like District 9, yet I do not think it will.
I cannot recommend this film anymore than I have, I just have to say everyone and anyone should see it. Sorry about all the gushing, it is just so hard not too.
If you liked this review check out my new film blog: http://thedeletedscene.wordpress.com
This is possibly one of the only perfect films I have ever seen. It is absolutely confident in every way, something which is extremely refreshing, even more so than Avatar. Christopher Nolan gets some slack for making great to look at but ultimately heartless affairs, which I for one do not agree with, however I do not think anyone can argue that here. The emotional aspect of this film not only ties it all together but is really the centre of this film, it is the focus.
I do not want to over simplify the film, by simply calling it Kubrick doing Bond, or Gondry on a huge budget, because I am sure it will be called that but it is far more than that, it is something I do not think Kubrick could have ever made. It is pure Nolan, and pure greatness.
I hate writing something which is pure fan-boy gushing, but its really difficult here. I did not find a thing I did not like about it, I am sure if maybe I saw it a second time, maybe I would find something about it I didn't like, but not the first time. The way it is cut, means that there is always action on screen, if not, then the visuals are interesting enough to keep your eyes glued.
The final hour of the film, is possibly one of the most complicated action sequences put on film. You have to constantly be paying attention to remember all of the layers of what is happening. Without spoiling anything, all I have to say is that is what this film is about, that is what makes this film so great, layers. Once you have seen this you will now what I am talking about.
All of the actors are fantastic too, Di Caprio is the stand out here. Yes, this is probably due to the fact he is the star and given all of the emotional weight, but he handles it perfectly, similarly to his performance in Shutter Island. Ellen Page, whom I usually hate, gives a great performance here. Tom Hardy gives a break out performance here, he is quite the bad ass.
I hope audiences are ready for a film like this, a pure auteur driven film which does not sacrifice a single frame for the studio. I would hope this film will change Hollywood, as it is 100 percent the directors vision yet it is definitely a marketable film, much like District 9, yet I do not think it will.
I cannot recommend this film anymore than I have, I just have to say everyone and anyone should see it. Sorry about all the gushing, it is just so hard not too.
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