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The Wild One (1953)
The iconic, original outlaw biker movie
I'm not going to lie about being introduced to this movie by my mother who wanted to watch it because young Marlon Brando was smoking hot here. Well, after watching it, I do have to agree on that front - the guy is drop-dead gorgeous in this one - but beyond that the film was also showcased a pretty interesting story of gang mayhem, troubled romance, and put to screen the iconic character of biker gang leader Johnny Strabler, whose persona shaped all of the biker gang movies to come after.
The Wild One tells the tale of Johnny and his biker gang crashing a small American town and causing all sorts of trouble until eventually tragedy and consequence strike. The story is told in a very straight and even manner, which makes the whole affair seem almost like a documentary at times. There is no distinct climax or a focused plot-line throughout the runtime which does make the movie a little hard to invest in at times, but to its strength this style also makes the characters and the events more realistic and genuine than your typical film.
Brando as the lead character and the other actors all put up nice performances (even if they will seem a bit dated by today's standards). Some of the sequences and events in the movie do border on ridiculousness, but overall I would say the whole product showcases a pretty in-depth and fascinating look into biker gang culture and the tension as well as conflict between gangs and common folks. In my opinion these are all good enough reasons to watch the movie alone - but honestly if you just want to gawk at a young Marlon Brando in his prime, that's totally fine too.
T2 Trainspotting (2017)
An unexpectedly solid sequel to a legendary film
To be sure, I think few expected Danny Boyle to return and make a sequel to his legendary 1996 movie with the original lineup. With many of the other unexpected sequels to beloved originals and franchises falling right on its face, there's definitely worry whether T2 Trainspotting would rank amongst them as yet another cash-grab by studios to try and milk nostalgia from the fans. Thankfully though, this movie proves to be a solid continuation of the original and justifies itself as a wonderful film in its own right.
Set 21 years after the ending to Trainspotting, this sequel reunites our main characters as they try and come to terms with past events and present circumstances. There's nostalgia and regret, and the theme of reflecting on your younger self as an older man plays a big part in the whole story. This is probably the biggest pro of T2 for me - the movie has actual stories to tell after the original events and it tells them convincingly. Sure, there's some helping of fan-service here and there, but it's all weaved in subtly enough that it doesn't distract you. You believe the characters on screen are 21 years older and you care about what happens to them - to me that is the hallmark of good storytelling.
All of the actors bring their A-game once again to deliver knockout performances with brilliant dialogues and some hilarious sequences and exchanges that rival some of the best scenes from the original. T2 sees Danny Boyle make a return for his stylised cinematography and soundtrack choices and it works as well as ever to give the movie a dazzling and unforgettable energy. Overall, the movie is just a pure joy to watch as far as I am concerned.
The original Trainspotting of course will not be beaten, but what I love about T2 is that it doesn't try to do that at all - it serves to strengthen the original by telling you brand new stories that stand on its own. It is funny, it is sad, and it is masterfully executed. Not to be missed if you've seen and loved the original.
Nope (2022)
Peele continues to prove himself in the horror genre
Jordan Peele is quickly becoming one of the most unique and innovative directors in the horror game. Get Out is one of my favourite movies in recent times and while I didn't enjoy Us as much the movie still delivered an intriguing and thought-provoking experience well above your average slasher flick. It follows that I expected Nope to at least be a memorable and interesting film, and I believe I've got just that and a little bit extra.
Right off the bat I have to say that Nope really ups the suspense and feeling of dread in a few of the key scenes, even more so than what the peak of Get Out and Us had to offer (although Nope does mellow out a little in terms of intensity towards its latter half). Peele is really adept at presenting a relatively tame scene and sprinkling just a tiny amount of details in there to make you wary that something has gone terribly wrong, but it's up to you to figure out the rest. The scenes involving a particular chimpanzee and the first hints of the movie's primary monster are prime examples that had me on the edge of my seat. This is all enhanced immensely by the excellent direction and cinematography, so definite props to Peele and his team for that.
The performances from all the actors are all pretty great, although a couple of the characters give somewhat more reserved presences due to the nature of their characters. Thematically Nope expectedly dives into the experiences of African-Americans in America once again from Peele's writing, but they are all delivered in a nuanced and subtle manner that leaves the meaning of the movie to the viewers to simmer over. There's lot's to uncover and I'm sure with a second viewing I will be able to unpack more than I did the first time around.
My reservations of the film is that I feel like it's a little bit uneven and slightly too drawn out at times. Tonally Nope goes from a proper thriller/horror movie in the beginning to more of an action/adventure affair towards the end and the transitions aren't always too smooth. Personally I loved it more when the central monster of the story was shrouded in mystery and mystique, and much of the intrigue was lost when the thing was revealed and our main characters could battle against it head on. I also feel like the final act could have been a little shorter, but I also believe with another viewing (with subtitles this time as I am terrible with capturing all dialogues without them in the cinema) things might begin to click more.
Overall, Nope is another solid entry in Peele's filmography that makes me very excited for what he can bring in the future. While it isn't a straight knock-out as Get Out is for me, it still delivered plenty of thrills and entertainment during its runtime, and who knows, it might grow on me in the future. Anything that isn't trite or cliched is a win in my book in the saturated field of horror.
Thor: Love and Thunder (2022)
Lightning doesn't strike twice for Waititi and friends
I am admittedly a big fan of Taika Waitit, and I liked Ragnarok quite a bit, so I was pretty excited for Love and Thunder. Unfortunately, after watching it, I can only say that it is a mere shadow of its predecessor and is lacking in many departments that make this movie anything more than a fan-service sequel that cannot stand on its own as an individual film.
The film is of course not without its pros. Christian Bale does not disappoint with his introduction to the MCU as the villain Gorr, with a powerhouse performance that makes the character both a sinister, vile being but one who you also sympathise greatly with due to all the things that happened to him. Natalie Portman is also great as Dr. Jane Foster who shows she can kick some ass and there's good chemistry between her and Chris Hemsworth. Korg is as usual always a treat whenever he is on screen, and the brand of silly Waititi humour is still charming more often than not, with the story also sneaking in a surprising amount of emotional depth at various moments.
Where the movie falters the most is that it just seems too inconsequential and devoid of substance. Many of the character developments are rushed, including that for Gorr and Dr. Jane Foster, where there is enough exposition to know who they are and what they want but not nearly enough for me to be attached. Gorr is supposed to be this monstrous god-killing being but we are hardly shown any of that in the movie, and for Jane we barely get to understand her backstory and her past relationship with Thor (apart from some flashbacks). Coupled with some more hastily rushed through scenes that includes a weird cameo from the Guardian of the Galaxy and one fight sequence with Thor, where both parties are not seen again for the rest of the movie, I found myself caring less and less as the runtime went on and was just left feeling hollow and unsatisfied when the credits started rolling.
Overall, fans of the original Ragnorak will still find things to enjoy in Love and Thunder, but the latter only has the spice and seasoning of style and humour without the main course of proper story and character development. Still, you will probably have good fun watching it because it is a Waitit movie. Here's to hoping that his next venture will be a bit more inspired than this one, however.
Jurassic World Dominion (2022)
Finally we can (hopefully) let this series die
It really is quite a shame how far we have fallen from the original "Jurassic Park", a classic and timeless piece filmmaking from Stephen Spielberg. This is yet another prime example of how a big Hollywood project managed to bring loads of cash, heavyweight actors, and a lot of other talented folks behind the scenes together, only for the result to be essentially a giant middle finger to
a beloved franchise and all self-respecting moviegoers. It's just so creatively bankrupt and devoid of anything interesting that I can barely recall what I even watched in the theatres as I am writing this review.
Where do I begin? The runtime is as good as any, I suppose. There is no way this movie needed to be anywhere close to two-and-a-half hours, as honestly there is hardly any progress being made to for the characters or the storyline for the majority of this film. We essentially just get a bunch of humans trying to survive dinosaurs while trying to rescue some other humans and dinosaurs, but for whatever stupid reason it takes a millennia for them to get anywhere. The performances in this movie are all decent enough, but because of the massively bloated and poorly-constructed plot I have great difficulties caring for most of them, and not even bringing back the original main actors of Jurassic Park can save this dumpster fire of a script.
The action sequences and special effects are all done relatively well, I suppose, but nothing mind-blowing and it still doesn't break any new grounds since the original. In fact, the action scenes are much worse, because I am still not a fan of CGI dinosaurs as they don't look real and thus I don't feel scared for the characters. Give me the original animatronics and practical effects any-day, seriously.
Finally, the crowning crap to top all of this off has to be the main villain of the story, or the worst excuse of one I've ever seen. This dude has to be the most incompetent and nicest villain I have ever seen in a movie, because he just let all the good guys walk all over him in his face and practically shakes their hand as they are doing it. Finding out your sub-ordinates betrayed you and actively helped out your enemies? No big deal, just fire him and let him leave right in front of you so he can continue to help out your enemies. Bonus points for literally letting the dinosaur and the person you captured escape under your nose and not have a single protocol or personnel that can stop them. This guy also accidentally destroyed his own laboratory and dinosaur habitat in the process of burning some evidence, which was so incredibly retarded that I didn't even register what happened for a good five minutes. Honestly, bravo.
At the end of the day, Jurassic World Dominion is not worth your time or money, because the new trilogy has definitely run its course and then some. Let's just wish that whoever decides to reboot this franchise can give it a bit more love and some semblance of intelligence into the writing, while I find myself a copy of the original title to cleanse my brain from this travesty.
The Adam Project (2022)
Generic. Predictable. Boring.
This movie did not work for me at all. I guess it was meant to be a loving, wacky homage to iconic time travel and sci-epic movies, but the terrible writing just ruined any chance of me enjoying either the storyline or the characters. It's just very disappointingly average, so I couldn't even view it as a "so bad it's good" type of film. I kinda wished I didn't sit through this one, honestly.
The dialogue was so awkward and unrealistic, especially for the main child actor who attempts to sprout off "witty" or "deep" jokes and remarks every couple of minutes that just wouldn't come out of any normal 12-year old's mouth. Ryan Reynolds is in familiar territory, I guess, shooting off his usual brand of "haha XD" jokes that I just don't find funny (granted the guy looks to be having a lot of fun, you gotta give him props for that). The rest of the actors all give performances as well as they could, but the script just doesn't let any one stand out in any shape or form.
The storyline mashes up the usual "time-travel to save the world" shenanigans with a healthy dose of space opera action sequences, and it really adds nothing new or interesting to the formula. The fights and effects are all executed competently enough but I wouldn't say it's anything extraordinary, and it does not help that several sequences are riddled with plot holes and logical impossibilities. The movie also tries to blend in some heartfelt family drama with some emotional dialogues and scenes, but once again the execution is so shoddy that it probably could've done itself more favours just sticking with a more focused direction.
In conclusion, this movie's inoffensive and light-hearted enough that you could probably just pop it on at a party and pass some time with it, granted you switch your brain off for the duration. But honestly, you would be much better just watching a Marvel movie instead, as it does everything The Adam Project tries to do but much better.
Doraibu mai kâ (2021)
A reserved yet powerful drama that justifies its runtime
Drive My Car, when I first heard about the movie, seemed like it could be a mentally-draining and depressing movie to sit through with its 3-hour runtime and a storyline dealing with death and grieving characters. However, after finishing the film, I will have to say that I was positively surprised that there is actually a lot more than what I originally gave it credit for. While it is by no means a light-hearted story or an easy watch, Drive My Car shows a wealth of tenderness, heart, and poignancy that sifts quietly through its characters and events that elevate the movie above your average tragic human drama.
The main storyline of Drive My Car tells the tale of Yusuke, a prominent stage director and actor, attempting to deal with the passing of his wife Oto as he works on an ambitious multilingual stage adaptation play. The movie is remarkable in its patience for character development, and what I am most impressed by is how reserved the movie is in execution while still managing to deliver an emotionally resonant and powerful affair. Being a character-driven narrative, there is no strong central plotline for Drive My Car beyond the circumstances surrounding its characters, thus the movie can, initially, feel a bit aimless where nothing of note seems to be happening. But as you watch the story unfold and you learn more about each character as well as how each person is dealing with their own emotional baggage, things start to compound and seemingly out of nowhere, you find yourself attached. What helps amplify the movie's power is the masterful acting from everyone involved, and there's several incredible long-take monologues that showcase Oscar-worthy performances by themselves. The film also very deftly uses several story-within-a-story setups to reveal deeper themes and truths about each character through, once again, seemingly innocuous and unrelated content at first glance. Finally, with a soundtrack and cinematography that mirrors perfectly with the contemplative tone of the movie, you are left with a profoundly moving and spiritual experience at the end of it all.
Overall, Drive My Car is a subtle yet deeply rich and engrossing drama about broken characters who are striving to find solace and forgiveness. It is an epic movie in length that never loses its personal touch throughout the entire runtime, and it is only after you finish and look back on everything that just happened that you realize what a grand piece of work it really is. For anyone who's in the mood for a slow burn film that sneaks up and sticks with you long after, I highly recommend Drive My Car as an essential viewing.
Stalker (1979)
A haunting and original sci-fi that explores the nature of human desires
Having heard many great things about the legendary Andrei Tarkovsky, Stalker is the title that I chose as an introduction into the filmmaker's catalog, and just from first viewing I can already begin to get a sense of why he is so highly regarded and influential for so many. This movie really is quite unlike anything I've seen before. At the surface, Stalker tells the story of two men, a writer and a scientist, who are guided by a character named the "Stalker" into a mysterious place called the "Zone", where there exists a room that grants the visitors their deepest desires. However, the movie is not just a simple sci-fi thriller as one might think going in, as it uses the story setting more as a premise for presenting a deep discussion on the nature of human desires and maintaining faith in an uncertain and nihilistic world.
The most striking element about Stalker has to be its cinematography and atmosphere. The movie is packed with long, uninterrupted takes of a desolate landscape and the characters that pass through it, accompanied by an unconventional ambient soundtrack that gives everything a brooding and ominous feel. By showing the story's setting at such a meticulous level, the "Zone" and all the events in the movie starts to feel more intimate and real. I really have to highlight how impressive the movie is at creating a realistic impression of a post-apocalyptic world while being very conservative in terms of showing actual terrible events on screen, instead relying on heavy implications and allowing the viewers' own imagination to run wild to fill in on what actually happened at this ghostly place.
There is some very striking imagery sprinkled throughout the movie, and coupled with frequent philosophical conversations between the characters and poem narrations, Stalker is definitely a movie more to be felt at a metaphysical level than to be understood at its face value. As a result, the movie can come off as a bit dragging, pretentious, and hollow, where it seems like nothing of note really happens in the story. I will admit that I did feel a little impatient at various points because I tend to prefer movies that are a bit more grounded in terms of execution. However, Stalker was just so thought-provoking with its presentation that I can't help but feel that there's a plethora of deep meanings and rich themes that I have yet to uncover, and thus it isn't fair to simply write it off because I didn't "get" everything on first viewing. I suspect that if I revisit this movie in the future my rating for it could increase as I go in with a fresh mindset and a better understanding of what type of movie it is.
Overall, Stalker is a highly original and intriguing movie that delivers a profound discussion on the human condition while being wrapped in a desolate, post-apocalyptic premise. The movie is very slow-paced and unconventional compared to regular sci-fi thrillers, so it isn't for everyone, but I feel that if you keep an open mind and are willing to revisit it your appreciation for it could start to grow. There's one thing that I am certain though: I will certainly be watching more of Tarkovsky's works.
Everything Everywhere All at Once (2022)
Exactly what you expect from the title
If the Oscars ever decide to present an award for 'Most Apt Title to a Movie', this film 100% gets my vote for being the first laureate. When you look up the definition of the word "maximalist" in the Oxford dictionary, the poster for this movie should be the first thing you see. At its core, Everything Everywhere All at Once has a rather familiar premise, where our female protagonist suddenly finds out in her everyday life that she lives within a multiverse and has the power to prevent the destruction of everything as we know them. What makes this movie stands out from its peers is the mind-boggling commitment of the filmmakers to really show the viewers what an infinite number of universes looks, sounds, and feels like from the perspective of a character caught in their wake.
I am honestly very conflicted about this movie. On one hand I am in absolute awe of what this movie was able to achieve in terms of raw impact on the viewers through an all-out sensory assault. It is without a doubt one of the most visually-daring and creative films I've seen in quite a while, with an endless number of insane action sequences flowing from one scene to the next. The story really goes to the max with using the multiverse context to pull off every joke you can and can't think of, frequently conjuring up tens of different skits within a single minute. On another note, something I really appreciated is that underneath all the dizzying spectacles there is also a very heartfelt and touching story about family and living for kindness.
Where the movie gets exhausting for me is from its shear overbearingness of its presentation through the majority of the runtime, which I fully acknowledge is the point and that many others won't feel is a problem. I did thoroughly enjoy the frantic style for the first hour, but after that the relentless attack does start to wear out its welcome and feel a bit repetitive. Some of the jokes also didn't land that well for me, which relate back to the presentation style whereby random bizarre things happen almost nonsensically one after the other due to the presence of the multiverse, making them feel like watching YouTube compilations of meme clips - funny for a while but starts to grate after that. I enjoyed the movie more towards the final act where it focused back on the characters and their relationships, so I personally would've preferred the movie to have struck a bit more balance on developing that aspect with the visual extravaganza exhibition.
To summarise, Everything Everywhere All at Once fully delivers on the potential of its title by giving an acid-trip-esque experience that is designed to mystify and overwhelm the viewers in what might well be the craziest multiverse movie in any timeline or universe. I always appreciate when the filmmakers have the guts and bravado to stick and execute their vision without compromise, and by golly if Daniels did not do just that. As a final note, I have to give a shout-out to A24 again: not all of their movies fully work for me, but you can count on them to be unique and to leave a lasting impact.
X (2022)
A love-letter to classic slashers with some twists
A tribute as well as a fresh-spin on classic slasher and horror movies, X brings together familiar genre tropes while incorporating various strange and arthouse elements that give this film a striking feel that helps it stand out from its mainstream counterparts. It tells the story of a group of young adult film crew and actors who travel to a reclusive elderly couple's remote farm residence to shoot a movie in secret, but things quickly turn deadly come nightfall when the owners start to find out what their new guests have been up to.
What I particularly liked about this film is that it is patient in taking the time to develop its characters and to build up the tension before unleashing the inevitable carnage. For a large portion of the film, you don't even realize you are watching a slasher movie, but you can tell something sinister is brewing in the background constantly, and you are just waiting for the fateful moment that it boils over. There are some very cool shots and film sequences throughout the movie with long takes, birds-eye view angles, as well as cutting back-and-forth between events in the real world and the movie the crew is currently shooting to enforce a story-within-a-story dynamic. When the killing does start the violence is impactful and disturbing but never overdone, and the movie also finds ample opportunities to sneak in some comedic relief here and there which I appreciate. Furthermore, I want to highlight the top-notch acting from everyone involved and some awesome popular music inserts and the soundtrack.
One thing that I wanted a bit more from the movie, it would be to explore deeper into the history and the motivation of the killers. From some of the actions and dialogues that were peppered throughout the story, it is already hinted that the villains are not your average chainsaw-wielding mask-wearing maniacs but rather folks that have an emotionally-charged reason that are driving them in their heinous deeds which are more than just random killings. I just wished the story spent more time on that, as currently it just ends up being a good ol' slasher movie when it had the potential to be something deeper and more special. Other than that, the movie also falls victim to some trite and clichéd tropes like silly jump-scares that it could've done without and some rather bland and predictable killings toward the end.
Overall, a very solid entry into the slasher genre that I'm sure will satisfy people both looking for blood and gore as well as something a bit more on the indie/artsy side of things. A24 has done it again so definitely don't miss this one out if you are a fan of horror.
Das weiße Band - Eine deutsche Kindergeschichte (2009)
A dark meditation on the nature of evil in human hearts
An unflinchingly-nihilistic movie that explores the darkness of humanity and authoritarianism, The White Ribbon is set in a fictional village in Germany just prior to World War I and tells the tale of a series of strange events and crimes that upset the peace of the local society. Shot with a gorgeously bleak white-and-black color palette and heralded by excellent performances (special props to the child actors who all deliver genuine and convincing showings), this is a film that, despite having no scares in the traditional sense, is at its core a horror movie: less of the chainsaw-wielding masked-monster type, more of the depressing Shakespearian-tragedy kind.
Like Haneke's earlier movie, Caché, The White Ribbon presents itself as a mystery and whodunit-type affair, but only as a framing device. It is less-interested in the solution to the crimes and is instead more about exploring the people surrounding the heinous events: how they are impacted, their reactions to the whole thing, and the implications that the crimes have on who they really are. By having the crimes subtly mirroring the actions and customs that the villagers have traditionally practiced and accepted as social norms, the movie cleverly and effectively forces the characters to face their own selves in a disturbing new light - even if only briefly, and even if they don't realize it.
The pacing of the movie is on the slower side, and viewers that are seeking thrills or definitive resolutions are likely to be left somewhat unsatisfied. However, if you are looking for a visually breathtaking film that delivers a chilling commentary on the roots of human evil that will leave a lasting impact, The White Ribbon is a fine pick.
The Batman (2022)
A respectable but overlong outing for our caped crusader
When it comes to Batman, it's hard to escape the influence and comparisons to the Nolan trilogy which revolutionised how his story is told: focusing on character drama, having more realistic action sequences/plots, and favouring a darker tone. The Batman is certainly no different, and it strives to be one of the grimmest entries in the franchise. In following this approach, there are elements that work great, but there are also aspects that fall a little flat.
Visually, The Batman is fantastic. The dark environment and ominous shots keep the level of tension and dread to an almost suffocating level throughout most of the runtime. Sometimes the lighting gets a bit too dark to make out objects clearly, but on the whole the movie succeeds in drawing the viewer into the miserable hellhole that is Gotham. The score is also excellent, whether it is for adding menace during a crime scene investigation or for adding to the epic-ness of a thrilling action sequence.
Speaking of action sequences, they are somewhat sparse but when they happen they are well worth the wait. The violence is brutal and realistic and some of the stunt-work is mind-boggling. When characters get hurt in this movie, you will feel it.
All the actors pull their weight and give solid performances, and nobody really stands out as a weak-point. Robert P.'s first outing as our titular hero is a reserved, but powerful, portrayal of a determined and broken man who's trying to redeem his city and himself.
The not-so-good parts:
The storyline doesn't really justify its behemoth runtime, and it drags in a few places. The movie tried to explore a few too many avenues about the dark side of Gotham and Batman's personal history, and a few of them didn't get tied up that well. I also felt the closing climax act didn't really add much to the movie and could be omitted entirely.
The villain plot wasn't that interesting for me as it just seems like a rehashed version of David Fincher's Seven or Zodiac but thrown into the Batman universe. I do like the approach of doing a Batman movie that is heavier on the detective side, but I just felt the stakes weren't as high or as personal as some of the ones depicted in Nolan's trilogy.
All of the characters are very cold and bitter, outside of our psychotic villain. While I understand this is probably what the film is going for to accentuate the dark and grim tone, it also made all of the characters somewhat similar and lifeless. Some of the character relationships are also lacking a bit of chemistry compared to what I experienced from the Nolan portrayal.
While the violence is generally realistic, some scenes involving Batman himself are a bit outrageous. The guy straight up turns into Superman for a few of the fight sequences, as he handles being blown up in the face, getting thrown off a high-speed vehicle, being shot multiple times - all with no long-lasting injuries, or even a scar.
Overall, The Batman is a solid new chapter in the franchise that continues the Nolan formula of depicting Batman and Gotham with a more grounded and grittier approach, but I can't help but feel that it doesn't bring many new things to the table while falling a bit short on achieving the same heights that its influences accomplished.
Repulsion (1965)
Disturbing psychological horror well ahead of its time
A hauntingly disturbing and brilliant look into a woman's gradual descent into madness, Repulsion is a movie that is a classic slow-burn where characters and situations become increasingly twisted as time passes. It tells the story of Carol, who is a reclusive and distant young woman struggling with social interactions with men, and the terrible things that begin to happen as she withdraws further into isolation.
The film focuses on small details and motifs to reveal the psyche of our main character, such as the little repeated actions and tics from her, the exasperated sounds and music that she hears, as well as the strange things that she starts noticing which may or may not be in her head. The pacing is definitely on the slower side, but I never found it boring or trite, as I feel everything succeeds in building suspense and a sense of dread in the viewer. Some of the more explicit sequences are a bit tame and unrealistic by modern standards, but I don't fault the film for that as it is a product of its time, and since it doesn't rely on them heavily the payoff is still plenty disturbing. Considering the year this was made, it was honestly quite impressive they were able to show some of these things on screen.
Overall, definitely one of the most harrowing and memorable depictions of spiral-into-madness stories committed to film. Check it out if you are in the mood for a patient, smart psychological horror movie that slowly drags you into the claustrophobic hellscape of our main character's mind through the course of its runtime.
Trainspotting (1996)
A frenzy rollercoaster ride into the lives of junkies
A masterclass in character study, Trainspotting depicts the lives of heroin addicts as they struggle to distract themselves until they can get their next 'hit' with sex, mayhem, and other substances. All the characters come alive with superbly crafted dialogues and performances from the entire cast, and coupled with a frantically-paced style of direction from Danny Boyle that combines apt pop music inserts with innovative dream sequences, the viewer is presented with a piercing look inside the mind of a junkie.
There were some sentiments surrounding the movie about how it glamorises drug use, but if one were to look just a little deeper it's easy to see that's not the case at all. The film pulls no punches when it comes to depicting tragic events and sickening actions from various characters due to their drug use. For that I believe this is actually the perfect anti-drug film: beneath all the humour and catchy songs, what the viewer gets is an honest and convincing depiction of what drugs do to someone, nothing more and nothing less.
Overall, an unforgettable dark comedy that expertly balances the 'dark' and the 'comedy' that will have you reeling from laughter to disgust from one scene to the next. A must-watch.