A Quiet Place (2018)

What little marketing I saw for this film pegged it as yet another generic horror flick. Maybe a haunted house, some monsters, something about keeping quiet? I didn’t really know what to expect. When I finally sat down and watched it, I was pleasantly surprised to find a movie less concerned with horror genre formulas and tropes, but one that is all about survival and family. The plot isn’t overly complex, no big twists and reveals, but the execution and design are splendid and make for a thrilling ride through a post apocalyptic upstate New York. In a way, this is what I would have liked The Walking Dead do be at times, perfectly conveying that loneliness of the barren post-apocalypse and the beauty of the untouched nature around it. Cinematography, editing and especially sound design are exquisite, and the fact that this made it to the mainstream with almost no dialog, says something about its director. In fact, I think the lack of dialog is where the movie shows its strength, letting us focus on the images and the surroundings instead of on what people are saying. If I had to criticize something, it would be the somewhat generic monster and finale, but in the end, both worked to support the work as a whole, and did not become the central point of the film. In contrast with another similar movie that was released the same year (Bird Box), I found both antagonist and ending to be much more satisfying, if not original, as compared to the ones in that movie. Overall, definitely worth a watch, if you like horror or if you just like a plain great piece of cinema.

Movie 43 (2013)

There are some good “vignette” movies, Jarmusch’s Coffee and Cigarettes (2003) and Night on Earth (1991) come to mind, but unfortunately this isn’t one of them. Not to say that it can’t be entertaining – sometimes you just feel like enjoying something so irreverent and crude without worrying about quality or sense. I’d like to compare it to things like John Waters’ works or John Cameron Mitchell’s Shortbus (2006) or Miranda July’s Me and You and Everyone We Know (2005), but alas, I can’t even do that, since that would be an insult to those filmmakers. Ultimately it comes closest to the Farrelly brothers’ other gross-out comedies like Dumb and Dumber (1994), Shallow Hall (2001), There’s something about Mary (1998), but even those were more cohesive and had a clear direction. If anything, this film’s greater merit is the fact that they got the ensemble cast to participate and the outrageous things they got them to do (Hugh Jackman with a hairy sack hanging from his neck or Halle Berry with huge prosthetics). In the end, I hope it was all in good fun for everyone involved. My personal favorite was the Middleschool Date part, with Chloe Grace Moretz’s moment and the way all the men around her deal with it by freaking out. It almost reminded me a little of Ginger Snaps (2002) if only for a few seconds. Overall I don’t know if this really warrants the title “the Citizen Kane of awful” as Richard Roeper put it, but it is certainly not good. But that’s OK.

10 Cloverfield Lane (2016)

Other than the name and J.J. Abrams’ magic touch, I’m not sure what this has to do with the original Cloverfield (2008). There is a brief moment in the film where for a few frames, an address sign proudly proclaims “10 Cloverfield Lane” but other than that, I don’t see a big connection. The aesthetic is completely different (gone is the found-footage style of the original) and I am actually thankful for it. Shaky-handheld-cam is so 2008. Who even uses camcorders anymore? Maybe a true sequel should have been filmed on Snapchat and it would be gone from cinemas after the first time you watch it. Thankfully, this has a lot more in common with things like The Mist (2007) and maybe Prisoners (2013) and Doubt (2008). The psychological thriller aesthetic takes center stage, with a stellar performance by Goodman. Winstead was ok too, trying hard to shed the remnants of the Manic Pixie Dream Girl that she inherited from 2010’s Scott Pilgrim vs The World. She is a sort of badass version of Brie Larson in Room (2015) but with a little less drama and a little more badassery. Overall, I liked the ambiguous nature of the plot, always keeping you guessing where it is going. The ending didn’t disappoint, although not entirely unpredictable, it did feel somewhat satisfying and didn’t leave me hanging (not to say that open-ended films are bad). Considering this is Trachtenberg’s directorial debut, I’m curious to see what’s next in store for him, as this is a very promising start.

The Act of Killing (2013)

If your idea of a great documentary is having the real-life mass murdering protagonist singing about peace in front of a waterfall with stand-ins for his victims taking the metal wires used to kill them off their necks, presenting him with a medal and thanking him for sending them to heaven, all shot in Barbara Walters-style soft-focus, then this is the movie for you. This is something so surreal and horrific that, ethical qualms aside, absolutely must have been made a documentary of. Despite the obvious issue of the subjects' perhaps deceit as to the true nature of the film, I think it was something that the director (and the big name exec-producers behind this, namely Werner Herzog and Errol Morris) couldn't in good conscience give up the opportunity to make. It is at once a historical document, psychological drama and participatory documentary (to use Nichols' convention). This is some dark stuff, and I've recently watched an interview where the filmmaker compared making his film to going into a Germany where the Nazis have won and interviewing Hitler. Well, that, except with more chubby asians in drag. Yes, there is humour in there too, at times maybe misplaced, but still. Overall an amazing film to watch, including the cathartic conclusion that brings a sort of much-needed but too-little-too-late kind of closure to the story, if not to the many victims and victims' families affected by the actions of the criminals presented before us.

Jobs (2013)

I sooo wish that this would have gotten the 'The Social Network' treatment. I wholeheartedly believe that even with someone like Kutchner, Fincher would have made a masterpiece out of it. Casting-wise, I wasn't too upset about Kutchner's selection. Having grown with him in that 70s show, he felt like he belonged among all the bearded, long-haired misfit computer geeks from Apple's beginnings. Without Fincher's edge, however, this seems more like a 2 hour, lawyer and marketing-team-approved commercial for Steve Jobs (not necessarily for apple). It claims not to shy away from his negative aspects (showing how he withheld shares from some of the people who were there from the beginning and cutting ties with his daughter), but overall it glosses over that with a story that it wants to portray as one of a visionary taking back what was his to begin with. It is as if it tries to hit all the keypoints in the apple/Jobs history, while not devoting enough to the 'soul' of it all, but rather trying to create a well-balanced, accessible, digestible story that is superficial under the guise of being genuine. I suppose, much like Jobs' philosophy, it projects an image of an ideal, hitting all the key cues for making us believe that ideal, but is, in the end, a simple product - average, but overhyped. 

Warm Bodies (2013)

It's not the latest Shaun of the Dead or Zombieland, but it does the trick in terms of fresh rotting zombie fare "with a twist". it's actually quite adorable and dare I say cute, with good pacing and relatively good cinematography given the budget. Seeing familiar places from Montreal making cameos was also a pleasant touch, and the whole Romeo & Juliette angle along with all the other little jokes are very welcome. With all the vampire romance fiction out there, it was really fun to see the zombies get their share of romance and 'heart warming' adventures. Overall very welcome, and the addition of Rob Corddri and John Malkovich only serve to make the package even more appealing. definitely worth your time. 

Beasts of the Southern Wild (2012)

Heralded as the new breakout film of 2012, both for its director and its child starlet, Beasts boasts characters, acting, location and a plot that can only exist where they do, and I would almost even go as far as describing it as a rare example of a seemingly dichotomous fantasy-cinéma-vérité-drama genre. I would say this is a pioneer in this new genre, but I can’t help but draw parallels to both Pedro González-Rubio’s 2009’s Alamar and (to a much lesser extent) to Pier Paolo Pasolini’s work, especially with his use of non-professional actors coming from the region where the film is set. In fact, Dwight Henry, in the role of Wink, hails from Louisiana and claims he has been “in neck-high water” during Katrina, which gave him a unique “inside understanding for what this movie is about”. Other than the historically inaccurate Aurochs (Zeitlin used baby potbellied pigs that he dressed up with fur and horns, for practical and budgetary reasons), the film’s main weakness is the plot, which despite being captivating and beautifully filmed, is rather thin, relying primarily on the interaction between the heroine and her father with their environment and nature. Fittingly, the film’s only real brush with reality is the devastating plan involving the levee, which leads to the brief but chilling encounter with “real life” and the harsh consequences that it entails when compared with the idyllic and carefree life presented at the beginning (and the end). Ultimately, the film acts as a documentary in the sense that it presents the smooth flow of life and nature in the dream-like Bathtub, and any attempt to pry its inhabitants from this community, effectively waking them up from the dream, does not end well. The ending is thankfully left somewhat ambiguous and open to us, but not without making it clear that Hushpuppy has grown in the course of the movie (thus fulfilling the classical dramatic arc and in a way conforming to the narrative structure Hollywood likes so much). This is not to say that it is not enjoyable and a great work to experience, especially considering it is the director’s first feature. I am curious to see what his next project will be, as he has already set relatively high standards of excellence for himself, especially considering this first film is also his first Oscar nomination. Overall great, well deserving of the nomination.

The Master (2012)

The Master is one of those films that I wanted to see ever since Joaquin Phoenix became sane again (although judging from his performance in The Master, I have my doubts). It is also Paul Thomas Anderson’s first movie since 2007’s There Will Be Blood, which I was hoping would have continued a streak of genius from Boogie Nights to Magnolia and even Punch Drunk Love (which I liked). Unfortunately (and contrary to the many positive reviews) it didn't capture me as much as it did others. I must admit that while the cinematography is amazing (maybe in part thanks to the use of 65mm negative throughout, normally only reserved for IMAX features) and is complemented by great performances well deserving of their Oscar nominations, the film as a whole didn’t do it for me. The whole link to Scientology wasn’t explored enough (and I think it could have made for some very compelling plot) and Philip Seymour Hoffman’s character (the L. Ron Hubbard analogue) wasn’t explored nearly enough as I would have liked. Overall it is disjoint and unfocused, and if it weren’t for the overbearing Scientology angle, this should have really been a movie about the unstable alcoholic WWII vet that we are presented with at the beginning. His whole encounter with ‘The Cause’ and their agenda just serves to redirect the focus to their antics instead of allowing us to fully explore Phoenix’s character, who either seems to barely hold it together or put up a really good show, considering his last stint in I’m Still Here. either way, only for hardcore PTA or Phoenix fans.

Broken City (2013)

It seems like Mark Wahlberg has been slowly building himself a career that involves him being typecast into the role of the down-on-his-luck, working-class maybe ex-cop character, thrust in a web of double-crossing and framing that’s just too much for his simple Joe-six-pack (recovering) self. In a universe that seems to always be Boston,  where characters are always in the midst of the old Hollywood cliché of Irish catholic or Italian (or in this case Latino) communities, there isn't much place for straying from the formula. And formulaic it is, complete with political scandal, financial fraud and “they want to take what little you have that you worked for so hard all your life” mentality. I won’t say it’s not a great fun to watch, considering the expectations. Performances are solid both from the main cast and the supporting characters, and if you like the kind of movies that Wahlberg has been pumping out (you know the kind, Four Brothers, We Own the Night, Contraband and even The Town, which I was surprised to find out didn't include Wahlberg), you’re sure to also enjoy this one. He even has a new one coming out, Pain & Gain, which is a little stray from the formula, and is a Michael Bay project, with all that that implies, but in the end, there is still a heist and Wahlberg’s lovable loser. Definitely a fun watch.

The Hobbit: An Unexpected Journey (2012)

Trying to navigate through the hype and fanboyhood that surrounded this juggernaut, I opted for the 24fps 3D version of the film. Reading through several reviews that panned it, I couldn’t bring myself to sit through 2:50 hours of “soap-opera” effect, but I like 3D so that worked for me. Without going through a comparison to the novel (which I didn’t read), it’s still easy to see that this has taken the source material and stretched it as much as it could. By comparison, the entire The Hobbit novel is shorter than the first Lord of the Rings book, so consider the material that fueled the first movie in LoTR trilogy, cut away some 200 pages, then split that in 3 and make a movie out of each part - that’s the Hobbit. I’m sure financial or “fan service” considerations would have been in play when making this decision. Maybe studio directors were thinking more about how many Hobbit figurines they could sell over the next 3 years than whether this was going to be a good movie. As for the film itself, it is of the same great quality that the first 3 LoTR movies benefited, albeit a little diluted because of duration. This could have benefited from some significant cuts. The usual culprit is the extended dinner/song/dance scene at the beginning, which honestly I didn’t find that long as it was happening, but which contributed to my indifference for most of what followed. I could mostly relate to Gandalf and Bilbo, most likely because I like both actors portraying them, but except for them, most of everybody else was forgettable. As for the CG creatures, Gollum excels again as always, and I did like the Great Goblin which was a filthy yet entertaining bit of goblin royalty. Plot-wise, if this wasn’t based on a book, it would be risible. Gandalf and the great Eagles act a bit too often as a deus ex machina, and some obvious choices seem like they were made for the sole reason of filling in some plot. The most glaring example, like in LoTR, is the Great Eagles fallacy. in the words of the great philosoraptor: “At the end of lord of the rings frodo Gets eagles to fly him back - Why didn't those sluts fly him there in the first place”. But I digress. Overall this was enjoyable, if a tad long. I’ll probably watch the other 2 films, and maybe give 48fps version a shot at some point as well, if I feel really bored. Essentially this is more of the same LoTR goodness, so if you loved those, be sure to not miss this as well.

Skyfall (2012)

the 23rd James Bond film is Sam Mendes’ 6th feature. In a career that started with American Beauty, it is hard to surpass oneself, especially with a Bond film. When you are tasked with directing something so near and dear to the fans’ hearts and to the studios' pockets, one wonders what kind of room for artistic creativity there is left, after going through the hoops of satisfying everyone. The plot is nothing new, having been written by the same guys that wrote the last 5 Bond movies. The script hits all the classic Bond points, including the opening theme sequence, gadgets, cars, bond girl and villain. Somewhat reminiscent of an evil Julian Assange, Bardem easily navigates through the role of the evil mastermind with a vengeance - a role he is well versed in as we’ve come to see in No Country for Old Men. Craig again brings his own brand of Bond to the franchise, with his characteristic rough, action-oriented take on spying.  Love him or hate him, he is signed to at least 2 more Bond films after this, so we are stuck with this blonde, blue-eyed, Heineken-drinking bond for a little while longer. I personally like Craig, and can safely say that I’m a bigger Craig fan than I am a Bond fan, so I do not mind, but like all Bonds, everyone has a favourite one and you can’t please everybody. Cinematography is very strong and I enjoyed the beautiful images in full IMAX glory, even though at times it slipped into ye olde blue-orange contrast territory, but for the most part I liked it, especially the Scotland scenes filmed at Glen Etive in the highlands of scotland. I can’t say that the plot was amazing, but then again, were Bond movies ever about plot? Mendes makes it much more about the constant fight between Craig and Bardem, reducing the film to the emotional struggle between the 2, with M stuck in the middle (with Judy Dench being as wonderful as always, in her 7th Bond film as M). Overall enjoyable, even if formulaic (but then again if you complain about Bond being formulaic, maybe you shouldn’t watch it all together). The computer ‘hacking’ parts could have been made slightly more realistic and less ‘3D representation of computer code’ à la Hackers, and a few other parts defy reality/physics to a good extent, but once you get past that, it’s definitely a fun 2 hours. 

The Man With the Iron Fists (2012)

This looks like something that came about when RZA thought to himself one day - hey, I like Kung-Fu movies and I got money and friends in the movie industry, so why couldn’t I pump out an awesome Kung-Fu flick of my own? It helps when those friends are Tarantino and Eli Roth and when you’re a member of the Wu-Tang Clan. I can’t say this is a good movie, not in the sense that things like Sukiyaki Western Django or Machete are any good. This is pure throwback to B-movie territory in the vein of Grindhouse, albeit playing with the classical Kung-Fu flick genre. It’s entertaining to a certain extent, especially considering the always wonderful Lucy Liu’s participation and Russel Crowe who seems to have put on a bit weight and was just having fun in this, wielding a steampunk-style gun-knife. RZA makes sure, like his alter-ego in Californication, Samurai Apocalypse, that he comes out on top, no matter what. From his tongue-in-cheek ‘blacksmith’ character (get it, his real name is Henry Smith, but he’s also black - hence: blacksmith), to the fact that he’s a freed slave (Henry Smith, curiously, is a famous lynching victim, not sure if related), to the fact that his mother in the flashbacks is Pam Grier, RZA works hard at establishing a link between african-american history and the world of Kung-Fu. Overall it’s a fun little movie, ultimately not excelling in neither comedy nor Kung-Fu or film-making, but what it lacks in technique it makes up in nostalgia and plain old silly fun. I couldn't have imagined anything else coming from the RZA, and in that sense, he delivers on exactly the expectations that fans of the Wu-Tang clan have come to expect, be it for better or worse.

Seven Psychopaths (2012)

I absolutely love this film. I am a fan of In Bruges, so I was delighted to hear that McDonagh took a break from playwriting and wrote/directed yet another masterpiece. Adapting well to the Hollywood setting and America, he presents us with a colourful (and psychotic) cast of characters that are as hilarious as they are deranged. It’s always good to see Christopher Walken in a role that doesn't *completely* parody itself. Yes, his characteristic delivery is still there, but it somehow works, because it’s not any less crazy than the other roles. Woody Harrelson, when not busy promoting ‘Rampart’ is also great here, delivering a comical yet deadly version of a psycho. Not nearly as serious as in Natural Born Killers, but a lot more mature (if you can call it that) when considering his career over the years. Sam Rockwell gets another chance to shine, as he did in Moon and Hitchhiker's and Choke, proving again that he is a severely underused actor. I won’t spoil the plot but suffice it to say that if you enjoyed early Tarantino and Guy Ritchie multiple-narrative ensemble cast crime fare that those two were known for, you are bound to enjoy Seven Psychopaths even more, as it seems to go back to the genre’s roots. It is not yet another example of the genre, and is rather self-conscious (at times reminiscent of a film-within-a-film), but it does this with such ease and fun and joy that is refreshing considering most of everything that’s out there. Finally, as is usually the case, Tom Waits’ dark addition to the cast/plot is very welcome, adding a kind of mysticism and unease that fits right in within the whole feel of the movie. Great work overall, highly recommended. 

Cloud Atlas (2012)

in their second “serious” directorial effort after the matrix (i’m purposely not counting “speed racer”), the Wachowski’s team up with Tom Tykwer (of Run Lola Run / The International fame) to bring an ambitious high budget adaptation that still manages to be considered ‘independent’ despite the $102 million dollar budget. The trailer alone has set the tone for an ambitious, history, location and reality-spanning juggernaut. The multi-narrative style is reminiscent of things like The Fountain, Babel and Tree of Life, but it ups the ante by introducing an amazing star-studded cast and getting their money’s worth by getting them to portray a large portion of the many different characters across different epochs. But unlike the approach taken in things like Orlando, where the the same character is portrayed across time, here the same actors portray seemingly different characters, bound together only by loose narrative elements and overall ‘feel’ of their role. While not always sticking to positive or negative roles, the actors for the most part portray ‘equivalents’ of their various characters across time. Despite the apparent forced linking of plots (mostly using meaningless narrative details or just allusions), the overall connection between the stories, I found, was made through the thematic. Themes of rebellion, fight for freedom, going against the mold, and so on are prevalent throughout the film. This establishes a kind of auteur-like identity for the Wachowskis, considering the very similar themes in The Matrix and V for Vendetta. Overall very enjoyable, as it spans many genres and you could say there is something here for everybody. From the historical slavery epic, to early gay rights issues, 70’s cop movies, political intrigue to futuristic and post-apocalyptic big-brother-type scenarios, this film tries to satisfy as many genres as it can. For the most part, it does a very good job at achieving this. My only doubt is whether or not the stories could have functioned as well on their own as they did as part of the multi-narrative style, or was their worth amplified by the very mode of presentation. There is no doubt that the Wachowskis and Tykwer are masters of the cinematic language, often cutting and arranging scenes based on theme or emotion or just plain movement/action, so connection is established throughout, going beyond the mere narrative. Definitely worth watching on a big screen, but maybe a re-watch might ruin it, dispelling the magic that a first screening might invoke. 

Argo (2012)

I wasn’t expecting too much from this, after having seen the trailer. It was basically a collection of wide-rimmed glasses and moustaches wobbling about worried about how Iran is evil. Maybe with a bit of Affleck to spice things up as a sort of Bourne/Bond of the 70’s. But alas, to my pleasant surprise, it ended up being a wonderful thriller, without too much of the cheap action that a rewrite of history could entail (I’m looking at you Munich). You can really see Affleck maturing in his career as a director in this one. From small town crime/heist films (Gone Baby Gone / The Town) he is now tackling International hostage crisis in Iran, based on true events, no less. I really liked the pace, I didn’t feel bored nor did it feel like it was trying too hard to put me at the edge of my seat with car chases or fights (Taken 2 review to come). Even the final stretch felt more like a calculated suspense scene than police cars chasing a plane. Overall it was fun to watch, the 70’s glasses and moustaches did not distract at all and actually worked really well to recreate the era, and despite some Canadians feeling that this film robbed Canada of the extent of its role in the rescue of those hostages, I feel it worked really well as a stand alone film. Yes, it can get a little anti-Iran at times, and arguably the Iranians had plenty of reason to be angry after the US granted asylum to their dictator. Yes there are some stereotypically bearded brown men that are supposed to be antagonists to a western audience. So what. The revolutionary guards right after the revolution were most probably ruthless and angry, as they probably still are considering they are basically political police. It is after all a Hollywood film, with things like John Goodman and Alan Arkin cracking jokes about fake movies back in Hollywood. I don’t expect it to be very realistic or sensible to international politics. Highly recommended.

Total Recall (2012)

I think this is one of those films that I wanted to like, and while there is nothing terribly wrong with it (actually I did enjoy the visuals a lot), the fact that the 1990 iteration exists kind of ruined it for me. In fact, if it weren’t for the original, this would have been yet another Len Wiseman (of Underworld “fame”) product, only salvaged by the association with Philip K. Dick, which the 1990 version also enjoyed. The fact is, I believe Paul Verhoeven to be a much better director than Wiseman, and despite the 22 year difference between the movies, I find the original to still hold today, without CG and with so called outdated effects. In fact the few parts that raised a chuckle in this version were the winks to the old film, like the 3 breasted lady or the border mask robot woman, who ended up being just a lookalike in this film. Other than the old film, this is more of a Blade Runner (itself a Philip K. Dick adaptation) or Fifth Element knockoff, especially visually speaking, and if it weren’t for the fact that i’ll throw money at anything futuristic/post-apocalyptic/hover-cars related, I could have cared less about it. Perhaps i’m being too hard on Wiseman. He is afterall a relatively competent effects-flick director, and I can’t say I didn’t enjoy this new Total Recall at all, I just think that it was too soon for a remake, and it wasn’t different enough for me to consider it as a viable retelling of the mythos. Also that creepy little conjoined twin thing from the original could have made a comeback, I missed that little guy.

Iron Sky (2012)

Iron Sky has been germinating somewhere in the bowels of the internet since 2008 when the production company put out their teaser trailer and brought it to Cannes looking for financiers. It was supposed to be one of those new productions, with on-line collaborators contributing in various ways, making this a supposedly community effort. I didn’t have a lot of high hopes for it even being released anywhere but on the web, but lo and behold it actually got some theater releases and I managed to finally catch a copy of it for home. I wasn’t really expecting quality, so in that sense the fact that I was well intoxicated contributed somewhat to my enjoyment. For a “low” budget film (€7.5 million) this stands pretty well alongside more mainstream “holywood” productions, especially in the effects department. The acting wasn’t spectacular, but the cast was pretty respectable, with B-movie darling Udo Kier and a few other unknowns, it managed to drag along through a relatively comprehensible plot. The comedy wasn’t the greatest, although it did have some highlights. I especially liked the famous Downfall scene remake. Other than that, there is nothing much more to say. It’s a moon nazi movie, with all that that entails. There are plenty of nazi references, so think Dead Snow, but instead of Teen Horror, it’s a Hollywood effects blockbuster. I knew it wasn’t going to be the next Sky Captain (which wouldn’t have made it perfect by any means), so for what it was worth, I liked it. God knows there are much (much) worse things out there. It’s interesting to see a low budget collaborative web-movie take on a hollywood effects blockbuster style. You know it won’t work, but I still commend them for trying and having a certain success. Now they are supposed to be making a prequel and sequel, as well as a video-game based on the film. I say good for them. it’s about time someone took on Uwe Boll territory and tried to infuse it with something fresh and fun instead of the same old shit that he’s been pumping out forever. Definitely not to watch sober.

The Help (2011)

So Hollywood tries to tackle the issue of '60s south segregation, yet again, and yet again only gives us a glossy, inspiring, positive-outlook view. Yes there are so called “hard moments” and who knows, maybe someone in the audience might even shed a tear. Nevertheless, this is still a blond white girl’s story of how she rose to literary fame by telling black folks’ stories. I don’t know, maybe this can indeed function as some inspirational look back for black kids and “lessons learned” fare for white kids that otherwise wouldn’t look twice at the subject. maybe. and maybe not. maybe the long-lasting effects of slavery and segregation can’t possibly be summed up in a colourful southern tale with sassy black ladies and mean white women. I’m not one to tell. This definitely ain’t this year’s “Precious” that’s for sure, and it sure as hell ain’t anywhere close to Dogville or Manderlay (both of which starred a pretty white girl, curiously one that is also in The Help in Bryce Dallas Howard’s case, in the lead, but despite being written and directed by a Dane, still managed to be more poignant and relevant to the issue than The Help). I suppose it’s unfair to compare, as in the end, The Help is a well-made movie, targeting a certain genre, demographic and style, but one can’t help but wonder how different it could have been if it didn’t look so much like those Stepford Wivesque scenes from Edward Scissorhands. Overall, this can function well as the perpetuation or perhaps the thing that keeps the mythos of '60s segregation alive. After all, forgetting about it all together is still worse than remembering it in a nicely consumable format. Overall, good but not great. Definitely a must if you enjoyed the novel.

Extremely Loud & Incredibly Close (2012)

So here is something that seems like it was market-researched to jerk those tears. Little boy with social anxiety or maybe Asperger's? Dead father that is presented as the perfect dad in flashbacks? 9/11? echoes of the holocaust? can this get more pretentious? I’m not really sure how Tom Hanks can still be taken seriously, especially alongside Sandra Bullock, but maybe it is in movies like this, where director/screenwriter completely gave up on self-respect or decency, that those two are still allowed to “star” in. The kid is this most ephebic NAMBLA bait, that is paired up with “of all people” an old mute man that might or might not be his long lost grandpa (it totally is his granpa). Are you kidding me? I’d be offended if this was to be the movie that’s supposed to “make 9/11 all better”, and considering all the other offerings, this might just be it, (which I bet is what got it an Oscar nomination). If there is anything redeeming about this, is the always wonderful Max von Sydow (and to a lesser extent John Goodman and Viola Davis, of 2008 Doubt's “crying my snot out” fame). Von Sydow, in what must have been a brilliant stroke of genius, doesn’t say a word throughout the film, but manages to convey more emotion and authenticity than the whole cast combined. The “plot” conclusion, with the reveal of the little boy’s mom journey through new york, “preparing the way” for her kid to come and pull a fit on random people named black (and yes, he does go around town looking for and talking to “blacks”) is preposterous at best. Like what, you have nothing better to do with your single mom free time than to entertain your crappy kid’s pipe dreams? bitch please. Also, the fact that they’re Jewish and Hanks claims he “only became a jeweler because he wanted to support his family but really he wanted to become a scientist”? really? cliché much? I bet all Jewish jewelers are really just scientists at heart. Unfortunately the extent of his science goes as far as giving his kid a copy of Hawking's “A Brief History of Time” and making up some bs story about some long lost new york borough. Nobody Cares! this better not win the Oscar. or rather, hopefully it’ll win and convince everyone once and for all that the Oscars are bs.

The Skin I Live In (La piel que habito) (2011)

Almodóvar’s latest sexy Spanish romp is pushing his usual motifs more towards the horror genre, but like he claims, this is "a horror story without screams or frights". Most likely it is very accessible to the more squeamish  viewers that wouldn’t normally enjoy horror. In fact I’d almost have a sick fascination with getting people who aren’t into horror to see this, because truly there is nothing really disturbing in the images other than the psychological implications of the plot. When I first heard of this film, there was the immediate association with Franju’s 1960 “Les yeux sans visage” which is one of my favourite films, but alas, this is merely inspired by that film, and is in fact an adaptation of a later french novel published in 1995. Overall, this is an Almodóvar work throughout, complete with all the signature plot twists, color palettes and gender play that he’s perfected so well in his previous work. I can’t possibly say that this is his best yet, mostly because it fits in a different genre than his other work, but it nevertheless fits nicely within his cinematic oeuvre. It did keep me guessing up until maybe halfway in, when his daughter’s purported assailant gets captured, but that did not detract too much from enjoying the rest of the film. if anything, the slow progression towards the eventual reveal and conclusion just made it more compelling to watch, especially in Almodóvar stylish and passion-filled presentation. Banderas does a good job as the obsessed and ultimately psychotic plastic surgeon, and the beautiful Elena Anaya is convincing in the role of the captive with the secret known to all but us. Overall definitely worth the watch, not only for Almodóvar fans.