nikspitz Reviews

Wind River (2017)

Haunting, powerful, beautiful, tragic, redemptive.

[8/10 · 9 September 2022]

After second viewing, I am no less impacted by the power and the beauty of this factual story. Hard hitting, strong performances all round. I am still haunted days later, again, by the strength of characters, humanising story, dehumanising circumstance.

The poem that was recited at opening scene and later shown hand written on screen is as follows:

There is a meadow in my perfect world Where wind dances the branches of a tree, casting leopard spots of light across the face of a pond... The tree stands tall and grand and alone, shading the world beneath it.

There will come a day when I rest against its spine and look out over a valley where the sun warms, but never burns...

I will watch leaves turn.

Green, then amber, then crimson.

Then no leaves at all... But the tree will not die.

For in this place, winter never comes... It is here, in the cradle of all I hold dear, I guard every memory of you.

And when I find myself frozen in the mud of the real - far from your loving eyes, I will return to this place, close mine, and take solace in the simple perfection of knowing you.

Emily Lambert.

After Yang (2021)

cinematic poetry

[9/10 · 3 April 2022]

Nuanced film making, profound existentialism, exquisite cinematography, beautiful story, not for the dull of mind or heart, pure delight for the discerning.

The French Dispatch (2021)

exquisite in its artistry, yet dry and cerebral to a dull abstraction

[5/10 · 16 February 2022]

9 for artistry, direction and stylistic cinematography - to be expected.

6 for characters and acting (not a huge fan of Murray or Swinton myself)

5 for indulgently intellectual storyline - a contrived swansong perhaps.

3 for watchability - I almost made it through to the end on second viewing.

Blade Runner 2049 (2017)

Villeneuve is a master of atmospherics

[9/10 · 6 January 2022]

I watched this on the big screen and left somehow disappointed - underwhelmed.

Watched it again a couple of years later - and only now see what I missed then. Just a reminder how expectations can distort perception.

The story line is an excellent continuum to the incomparable original, replete with layered homages to that seminal masterpiece.

Awe inspiring cast (guess who my new favourite baddy is. And am I the only one that wishes Gosling could have played Neo, or does that wooden emperor still wear no clothes. Essentially the same recalcitrant, emotionless male stereotype - but beautifully nuanced in this case. (See my review for Ad Astra for redemption of said male stereotype)

A few forgivable plot breaches, pale in the face of so much scenic richness - the atmospherics are off the chart. Villeneuve is a remarkably versatile film maker, and certainly a master in his subtle, nuanced and paced treatment of this genre. He has indeed succeeded in doing justice to a classic and seminal sci-fi masterpiece by creating another in its wake. And then there's Dune to prove the point.

Good film, like any worthy art, is worth revisiting at different times and frames of mind. It can not be appreciated fully in one viewing.

Shiva Baby (2020)

Dry, dark, tense yet delightful - and very Jewish

[8/10 · 25 December 2021]

I hesitated a moment to give this an 8 but the film is so eminently watchable - compelling in fact. No prizes per se for the situational comedic/ironic story, but it serves well enough as a vehicle and everything else is a win. So nuanced are the characters and the caricatures of Jewish family life - and their portrayal through the candid camera work and framing - this is flawless indie film making. Capturing private thoughts through body language and the camera's eye as witness, we get drawn into an increasingly uncomfortable situation through the eyes of our rather brilliantly portrayed protagonist - of questionable character herself. From performance, direction, terse score to the gestalt. Dry, dark, tense, yet delightful, from frame one to the last - albeit an unexpectedly nondescript ending to a short, yet engaging film.

Sunshine (2007)

Atmospheric, visually stunning, driving score, weak script

[6/10 · 10 November 2021]

Atmospheric, enthralling, jarringly engaging visuals and great score. Caught myself holding my breath a few times in anxt. Unfortunately a pretty lame script with concomitant non-conviction in its delivery made it difficult to suspend disbelief. Will watch again on a better screen at some point, but for now, giving the benefit of the doubt and a seven star rating for the visuals alone.

Ad Astra (2019)

Visually arresting, steady-state, archetypal heroes journey.

[9/10 · 29 October 2021]

Well produced, big budget sci-fi, modestly dramatic in its adventure (in itself, daft as most mainstream epics, but this is just the vehicle and is fun - you know, sci-fi.) The drama nevertheless, remains at the steady, cerebral pace dictated by our commanding, melancholic hero Major McBride. Brad Pitt plays his role with consummate presence, as does his nemesis Tommy Lee Jones as his maximally distant father.

And this is of course the essence of the film - the particularly male archetype of denial and disassociation from feeling and vulnerability - ultimately this turns out to be all that is most important in a life - connection and intimacy. Thus the film is about finding integrity between professional and personal commitment and relationship.

We are given to note that no freakishly cataclysmic event or any authority seems able to shift Major McBride's presence of mind or steadiness of heart-beat from its resting state ...except, the one fear that requires attention for true growth potential and ultimate wisdom and maturity. Thus, if you want pop sci-fi - this will not be for you.

Only in the end then, when truly alone in the cosmos, does the Major find himself. And along the way, we are given a truly gorgeous visual tour of our solar system. The opening sequence is particularly arresting if you are in the moment.

The Square (2017)

uncomfortable, neurotic, dry

[5/10 · 16 October 2021]

Unusual, well made, well played, poignant social commentary, largely intriguing, but not quite enjoyable or rewarding enough for me personally, in spite of it's Scandinavian noir tones. Unless you happen to like watching narcissistic, neurotic, awkward characters and situations in full flight. The film is predicated on a degree of naivety and oversight and ensuing uncomfortable dramatic scenarios, albeit including a couple of worthy dry comedic moments - but, left me cold. Don't typically write negative reviews, but felt this one at least deserved some justification for the low rating.

Fast Color (2018)

Heartfelt, elemental, emotive

[7/10 · 14 October 2021]

Beautifully paced mystery, engaging score, gorgeous acting, delightful on many levels. Heartfelt, elemental, emotive (if you are emotionally available.)

Watched this film with no idea what it would be about - always the best way to see a movie of course, and watching the preview now - I see how ruinous it is in taking away the mystery and unexpected magic out of the story.

Nope, not the Marvel, super power, comic-book, action hero, adrenalin squeeze many reviewers seemed to be hoping for (and intolerant or unable to understand anything other than).

The women shine in this one. It's a colourful, feel good movie. Enjoy it for what it is.

V for Vendetta (2005)

Prescient, entertaining, thought provoking, classic Wachowski brothers (as they still were at the time of filming;)

[7/10 · 8 October 2021]

The film is prescient given the current state of surveillance, the ever increasing police state, and the manipulation of authority in the UK in 2021.

We will say nothing of false flag operations and "gain of function" virus manipulation because that would be inappropriate, controversial and speculative, but the parallel and parable is plain as day. The story is by definition dramatic and extreme, yet Orwell, amongst so many other free thinkers and visionaries throughout history would agree with the underlying premise. Fear and manipulation/narrowing of consciousness is of course what any authoritarian power is derived out of.

Unfortunately this is not one of Natalie Portman's best roles, considering some of her superlative latter work, her character is stilted, wooden timing throughout. And yet, it is a thoroughly entertaining film from beginning to end.

I could almost see Boris in John Hurts place if he didn't present as quite such a mop headed muppet vs the 3rd Reichian role called for. Not sure which is more dangerous, but I digress. Lastly, I am jealous of V's art collection. I believe that was a Blake canvas in there amongst all the other gorgeous art and architecture.

If you haven't seen it for a few years, check it out!

Love (I) (2011)

Authentic

[7/10 · 6 January 2021]

For a backyard, low budget movie, this authentic, thoroughly enjoyable and thought provoking film puts mainstream, big budget movie makers to shame.

The title (though perhaps a little misleading given preconceived notions of what we consider love to be) implies, in the films beautifully understated narrative, that human connection is the essence of our existence, and that that is what love is - communion / connection / relationship, in all it's facets - that which makes us who we are, and that we can not exist without. This could have been made clearer, but at the expense of being dumbed down to Hollywood story telling, which is exactly why independent films like this one are so refreshing.

Case in point, this review written after trying to watch the highly polished, big budget and entirely unconvincing Europa Report - which I gave up on after 30 minutes as just so much formulaic unoriginal garbage.

This film uses honest creativity and ingenuity (necessity being the mother of invention) to create a meaningful and effective piece of art, albeit a little rough around the edges, but hey - that's wabi-sabi baby!

Aniara (2018)

Independent, well imagined, poetic, existential sci-fi

[8/10 · 17 August 2019]

Aniara is based on a science fiction poem of the same name, written by the Swedish Nobel laureate Harry Martinson. The title comes from ancient Greek meaning "sad, despairing," but the film celebrates beauty, melancholy, science and art in its own unique ways.

Refreshingly non formulaic in its treatment of a population of people cast together on an open ended journey into deep space. Intelligently engaging (sorry, no terrorists, aliens or explosions,) Aniara is well written and crafted. An honest, smartly peopled, smartly imagined tech and smartly edited film, the story spans extended time periods effortlessly (trusting the viewer does not need the plot spelled out in join the dots format) Devoid of unrealistically pretty "L.A." faces, we have believable characters, real people, behaving in believably complex and unexpected ways.

In short, unassuming, authentic film making worthy of the craft.

I'll add a limited quote here (to avoid spoilers) from an article (on the gutenburg site) on the epic poem itself.

"One of the major themes explored is the nature and necessity of art, symbolised by the semi-mystical machinery of the Mima, who relieves the ennui of crew and passengers with scenes of far-off times and places, and whose operator is also the sometimes naïve main narrator. The rooms of Mima, according to Martinson, represent different kinds of life styles or forms of consciousness..."

XL (2013)

Artful, wry, debauched Bacchanalia.

[7/10 · 25 August 2017]

Allegedly based on true circumstance, in which case a commentary on Icelandic political and social alcoholism and addiction - but certainly a study of humanity and hedonism - at once tragic and comic, delightfully insane and horribly sordid.

Engaging if you are not bent on linear plots, so much as total immersion into the artfully contrived flashbacks and blackouts of the enigmatic and grotesque protagonist as he parties hard all the way to the bottom. Edgy POV camera work, sharp editing and score evoke the decadent shenanigans of the political elite off the rails.

Well cast and acted and a little eccentric. The kind of film I for one love!

Remedy (I) (2013)

Nuanced, edgy, artful

[7/10 · 4 October 2016]

An artfully framed study of the subversion of feelings and their deviant expression, explicitly in the world of BDSM - though not overtly or particularly sexual.

This is a subtly told, at once playful and edgy little film with some nuanced performances, but most particularly Kira Davies as our protagonist Remedy.

Engaging moody and well crafted camera-work plus an evocative driving soundtrack.

Well worth a viewing if you have a penchant for anything indie, original and/or underground.

Only Lovers Left Alive (2013)

a study in pleasing decay through a timeless love story - fine sketches that don't quite hang together

[7/10 · 14 February 2016]

What's not to love about timeless subversive literary interlopers, eclectic analogue audio invention, retro-classical, grungy rock n roll and subtle evolutionary free energy technologies - all hung together around the neck of rarefied modern day vampirism - the almost incidental vehicle, for this romantic study in decay.

Though the decadent textures and tones of Only Lovers Left Alive are delightful, the irreverent concept fun and engaging enough, the film does not quite hang together. It comes over stilted and contrived, even if gorgeous in it's melancholic, opium den aesthetic.

Perhaps a different editor could have saved this film from it's borderline B movie vibe, yet it is remains enjoyable as a variant cultural folly if nothing else.

Birdman or (The Unexpected Virtue of Ignorance) (2014)

visceral, avante-garde, original - cinema at its best

[10/10 · 12 February 2016]

Captivating from first frame to last, visceral performances, from Michael Keaton and Emma Stone in particular, avant-garde inventive cinematography and score, surreal yet vivid, pithy, original, and very New York.

That's really all that need be said - no point blathering about the thin veil of separation between stage and life, the search for meaning, death of the ego, validation, love...

all aptly distilled in the epigraph:

"And did you get what you wanted from this life, even so?"

"I did"

"And what did you want?"

"To call myself beloved, to feel myself beloved on the earth"

{Raymond Carver, Late fragment}

The Fountain (2006)

Extraordinary visual beauty and vision

[10/10 · 11 February 2016]

After poor reviews and short run time at the theater, one might not expect much (the best way to see a film of course). Having read something of the use of organic liquid processes (light, oil, water) instead of CGI for cosmic screen effects though, I was curious.

It turned out to be a film of such extraordinary visual beauty, power and vision, resonant of our deepest earthly yearnings - love, conquest, transcendence and immortality. The fact that it's beauty and vision is lost on so many reviewers is a reminder that when mainstreamed so much high budget, Hollywood formula film, we tend to become insensitive and impatient so as to completely miss the deep pleasure of a rare and lasting treat.

Black Swan (2010)

A masterful study of the shadow

[10/10 · 11 February 2016]

This is exceptional film making that, like most really well put together film, supports ever deepening appreciation on subsequent viewings.

After early suggestions of shadows at play, from a well paced, seemingly innocuous start, the film takes several rapid left turns, punctuated with passionate and erotic twists, drawing us deeper into a squirm-in-your-seat psychological thriller - not a genre or feeling I myself seek or generally enjoy - but this is seductive filming, building steadily to a powerful and sublime climax that is richly satisfying.

The film is evocatively and masterfully shot, full of subtlety, richness and depth. The supporting cast are absolutely flawless in their roles. Portman nails the part - is the part - embodying it metaphorically, psychologically, and in some sense literally.

The dance itself is effective, though not, per se the focus of the film, so much as the unnerving character study and exploration of the shadow we all posses, or possesses us, and ultimately, the power in transformation.

Powerful lighting, direction, edgy score - the overall gestalt is a film where the sum creates something greater than its component parts - the alchemical art of film making.

Hanna (2011)

Powerful yet subtle - beautiful, dark, edgy film married to a tightly paced score

[7/10 · 11 February 2016]

A femme fatale, action, fairy tale adventure with a twist.

Modest, but effective in it's scenes of violence which are crafted with a restraint rare in 21st Century film making. This is a terrific adventure into a curious underworld and some first class film making.

The cameos of the cultures in the countries through which our protagonist passes on her quest offer a delicious contrast to the well paced action and drama, enriching the story though not central to its arc. Performances from Saoirse Ronan vs. her nemesis Cate Blanchett are powerful, the Irish actress Saoirse as the naive but lethal young German girl particularly engaging.

Illuminata (1998)

A perfectly imperfect parody of the human drama

[7/10 · 11 February 2016]

Written, directed and starring John Turturro, amongst a colorful cast of engaging loonies, this is a self critical, perfectly imperfect parody of the human drama,

It is at once ragged and genius in it's sublime musings and witty study of eccentrics, dramatics, cynics and lovers - peering between the veils of life, love and the stage. In this, it is Birdman light.

Not without its flaws, but playfully symbolic sets and lighting form the back drop to a surreal folly. To take it too seriously like so many critics, is to miss it's beauty and the point entirely.

in its study of the thin veils between life and stage.

Enter the Void (2009)

A provocative, challenging and deeply rewarding film

[7/10 · 11 February 2016]

A brilliant, edgy, experiential look into the tragic life of a young hedonist through his physical death - this is his Bardo journey - the journey towards reincarnation and thus a recapitulation of the events that led him to his untimely demise.

Not easy to watch but compelling, mesmerizing even - a provocative, challenging and deeply rewarding film that asks the viewer some magnificent questions through moral dilemma and motive.

Set in an authentic, sordid, decadent Tokyo environment (I happen to know well) - this film will haunt you in deep places if you can make it past the initial uneasy POV camera work!