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Reviews
Les quatre cents coups (1959)
Truffaut mixes personal with technical to achieve mastery
The impressive acting, the delicate script, and incredible camerawork and direction all add up to a movie whose final scene does not just find itself stuck on a loop in my head, but one etched in cinema history.
The fact that I can almost convince myself I am underrating this putting it at a 9 should indicate how great of a movie it is.
Speed Racer (2008)
The Wachowskis's Commitment to Speed Racer Cartoon Pays Off
When I first saw The Matrix, I was absolutely taken by the visuals. I admired how complex the plot was, but thought it fell short of meeting the expectations set forth by its ideas. Those thoughts just deepened as I made my way through the trilogy of films. Now, I will say I absolutely want to revisit them, but I could never shake the feeling that the writing of the Wachowskis's was too self-serious. Speed Racer does not have that problem and it is all the better for it.
The fact that Speed Racer never takes itself too seriously, in addition to the Wachowskis's commitment to the aesthetic of the Speed Racer cartoon, makes the film worth giving a shot. I will admit that if you do not like CGI, you likely are not going to enjoy this film. I will also say that I am not sure I have seen a movie that used this much CGI as effectively and as fun as Speed Racer does. The racing scenes are awe- inspiring for the spectacle of colors and movement and the fight scenes lie somewhere between exciting and ridiculous never giving into a dull moment. For better or worse during the film, I couldn't take my eyes off the screen, and that is one of the highest praises I can give to any movie.
Gake no ue no Ponyo (2008)
Hayao Miyazaki Brings a World Bursting with Color to Life
From the opening sequence in Ponyo, the world is filled with vibrant, radiant colors. There are blues, yellows, greens, and reds all over the place. Miyazaki and his team of artists leave no space untouched. It is part of what makes Ponyo such a beautiful film.
Other than the eye-popping colors of the world, there is something else about the world of Ponyo that becomes quickly apparent. There is no telling what may come to life. The plot and the universe it takes place in is one of magic and fantasy and the movie is made all the better for it. Something I noticed about Miyazaki's direction is how well he films movement. There are constant movements in Ponyo, both of characters and objects. Miyazaki balances both movement - not always in the same direction, though sometimes - in the foreground and background frequently. Much of the plot of the movie surrounds the ocean, which lends itself quite well to movement. There is also a great mix of animated backgrounds and drawn and painted ones, all of them bringing a different charm to the world of Ponyo.
Hunt for the Wilderpeople (2016)
This Will Not Be the Last Time You Hear Taika Waititi's Name
Hunt for the Wilderpeople is an absolute delight of a film. It sports hilarious performances from Julian Dennison (Ricky) and Sam Neill (Hec), however, I wanted to talk about Taika Waititi's direction in this film.
At times, his work reminded me a bit of Wes Anderson, with its use of jump cuts to guide the viewer through specific scenes. By doing this, Waititi speeds up the pace of the film. It is not a frantic pace, but one that highlights the best parts of what it has to offer, such as the first birthday party Ricky shares with his new foster parents or the scene with him dancing in the forest. Waititi's direction highlights those hilarious moments so well. I also really enjoyed the way he framed specific characters. He tended to start with a character in the center of the frame - specifically in a close up - and fill out the rest of the frame from there. I thought that focus drew my attention to the center of the frame well. The story of Hunt for the Wilderpeople is heart-warming, hilarious one that is only made better by director Taika Waititi's stamp.
Tampopo (1985)
Jûzô Itami Puts Together One of the Best Food Films of All Time
The premise of Tampopo guarantees a bit of off the wall. However, whenever you start to get deeper into the film, it offers so much more than just that. Much of that is thanks to the direction of Jûzô Itami.
Itami's ability to shoot ensemble scenes is on full display in Tampopo. There are consistently frames with 4 or 5 people in the scene and he constantly finds ways to give each character their own space in the scene without it ever feeling crowded. One of the best examples that sticks out afterward was the scene where the 5 men at the bar are trying Tampopo's noodles at the same time. Each man makes similar movements in the scene while eating the bowl of noodles, so your attention is drawn to them, meanwhile Tampopo is in the foreground of the shot behind the bar still moving around and watching the men. Itami's ability to craft these types of scenes and manage movements from a multitude of characters gave him the ability to have fun with that, often manifesting itself in acts of physical comedy - such as the scene I described with the same all eating the noodles the same way. Itami's direction adds layers to an already funny and incredibly original premise rooted in the plot of Tampopo. It is a film that you will not regret giving a shot.
Swiss Army Man (2016)
Hell of a directorial debut for Daniel Scheinert and Dan Kwan
Swiss Army Man is a wild, immature, self-aware, mature, intellectual, uncomfortable, hilarious ride. Yes, I purposely put those contradictory words in there. It's for those reasons that long after seeing Swiss Army Man, I am still breaking down everything I watched.
It's a weird, but seemingly basic (see: traditional, as there isn't much "basic" about being stranded) premise of a man being lost and trying to find his way back home. As we find out, home is not that simple, and it turns out that things can get weird when corpses come back to life. Paul Dano (Hank) and Daniel Radcliffe (Manny) are cast perfectly for this film. However, it's the writing and directing team of Daniel Scheinert and Dan Kwan that I wanted to focus on. I think the writing in the film is really good. It preserves a lot of mystery without taking over the story. The audience remains curious about certain aspects of the film, but not enough that it takes away from their enjoyment of scenes like the party that Hank and Manny have together. The direction was really solid too. Other than the beautiful use of natural light and incorporation of the environment, I thought the sparing use of slow motion was a really nice touch. Overall, I really can't wait to see what this duo takes on for their next feature length project. If you don't mind a lot of fart jokes, you should definitely check this out! Actually, even if you do, because I still think it's worth it. The farting didn't do too much for me either, and look at how much I enjoyed the whole thing!
Shaun of the Dead (2004)
Edgar Wright gets the most out of Simon Pegg and Nick Frost
I could have easily highlighted the performance of Simon Pegg and Nick Frost in this review for how good they were - and to some extent I will - but I want to focus on Edgar Wright's direction, because I think that it, beyond the wonderful script and performances, is what makes this movie as funny and entertaining as it is.
I reviewed Scott Pilgrim vs. The World a little while back and in that review, I noted Wright's use of quick cuts to add comedic effect and speed up of the pace of the film. He continues to use that in Shaun of the Dead and to even better effect. The quick cuts and close ups of Pegg and Frost are often hilarious because of the way they move from action to reaction quickly. It doesn't give the audience to process any other reaction than the one we see on Simon Pegg's face at that given moment. Speaking of Pegg, his and Frost's performances add another layer to the already funny film. Wright puts Pegg and Frost in positions to show off what makes them hilarious. Their friendship is front and center in the film - even to the point of interfering with Pegg's character's other relationship. One scene in particular that I really enjoyed between the two friends is when the apocalypse first breaks out and they are trying to kill the zombies and realize that you have to aim at the head. Wright immediately cuts quickly to them in the backyard going through a vinyl collection, bantering back and forth, and trying to hit the zombies in the head with the vinyls. It's the combination of the absurdity of these two men trying to navigate something as serious as the zombie apocalypse in combination with Edgar Wright's direction that makes this movie absolutely worth your time.
Steamboat Bill, Jr. (1928)
Buster Keaton's physical comedy is in a realm of its own
I could have as easily written about direction here, but I want to talk about his performance. It's the physicality of his performance that's the most memorable aspect.
It's no secret that Buster Keaton excels in physical comedy and his part in Steamboat Bill Jr. is no exception to that rule. The film ends with one of his most memorable, larger than life stunts: the hurricane. For that sequence alone, Steamboat Bill Jr. is worth watching. At times, Keaton himself seems to defy gravity. He scales down the side of buildings and straps himself to beds to withstand the hurricane. However, it's the smaller stunts in Steamboat Bill Jr. that make me fall in love with Keaton's performance. For instance, when his father's boat is docked next to King's boat, William (Keaton) finds himself being pulled between the two boats. I was cracking up at this scene. Another great example of Keaton's physicality is the scene where he sneaks out to meet Kitty. He has to crawl across the boat without waking his dad and get over to her boat. For me, Steamboat Bill Jr. is not as dynamic as some of his other work like The General, but it has some of his best stunts and the wonderful physical comedy you can always expect from Keaton's work. It's worth your time in laughs and entertainment.
The Big Lebowski (1998)
The Coen Brothers flex their versatility with weird and zany
John Goodman and Jeff Bridges are an absolutely fantastic duo in The Big Lebowski. However, I want to talk about the direction of the Coens' for this film. The writing also reminded me of Thomas Pynchon's Inherent Vice a decent amount, and I definitely mean that as a positive.
However, the Coen brothers' direction is for me what brings the other components of the film together. The film's weird psychedelic scenes, the slow motion bowling with John Turturro, and the wonderful use of space, particularly with the houses of the two Lebowskis, all add comedic, eccentric depth to an otherwise still funny movie. The trip The Dude takes when he lays down on his floor on his rug and starts flying is one of the psychedelic scenes that comes to mind. it feels so odd, but in another way, entirely right. John Turturro's (Jesus Quintana) character does not have much to him other than the beautiful slow motion bowling scene, but man is that enough. Finally, I got to thinking about the disparity of space between the two Lebowski places. The Dude's place is relatively small, but it's there that we go on a trip (and Treehorn's place, but that's for another time) that opens up to the whole city. Whereas when we are at The Big Lebowski's place, The Dude, Brandt, Bunny, and almost anyone who enters looks small in comparison to the space of the house. It's an interesting dichotomy that truthfully may not mean much, but it's something small (I guess pun intended) that makes the direction of the movie more special. It's also just a legitimately very funny movie that really does thrive off the duo of Goodman and Bridges. It's weird and it's frequently nonsensical, but it's still worth a watch.
In the Loop (2009)
Armando Iannucci, Simon Blackwell, Jesse Armstrong, and Tony Roche are firing on all cylinders with this script
I watched the entire movie thinking, "Man, this reminds me a lot of Veep." The credits rolled and I saw who directed it, and felt kind of goofy because I saw Armando Iannucci's name at the beginning, but only put it together at the very end of the film. However, I love Armando's writing so much, that I have to pick that aspect of the film to talk about.
What makes In the Loop and Veep so great to me isn't just the names involved (wonderful actors like James Gandolfini in In the Loop and Julia Louis-Dreyfus in Veep), it's the incredibly sharp nature of the dialogue. It is a film that is about incredibly serious subjects, like war and its surrounding politics, but it's a film that never takes itself too seriously. That is due to the writing of Iannucci, Simon Blackwell, and others - as well as improvisation by the actors and actresses, I'm sure. The dialogue riddled with wonderfully creative insults and jabs at the self-importance many politicians carry around. The dialogue is so unfiltered, and I think that's part of what I find so appealing about both In the Loop and Veep. The writers give their characters free reign to throw jabs at each other at all times, which brings a certain irony to serious moments as well as serving as a source of levity.
Moving forward from Veep and In the Loop, I want to see if Armando might do with a script that takes him away from the political spectrum. While we have him here though, we better cherish him because In the Loop is definitely worth your time as one of the best contemporary political satires.
His Girl Friday (1940)
First experience with Howard Hawks guarantees revisiting his work
For as wonderful as Cary Grant (Walter Burns) and Rosalind Russell (Hildy Johnson) are in His Girl Friday, I knew that I couldn't pass up an opportunity to discuss Howard Hawks' direction.
I do not often notice movement as a staple of direction when I'm watching a film - especially not when it is the first time I have seen the film - but here I am. I couldn't help but notice is in His Girl Friday. Hawks creates the semblance of a dance between the characters of the film. It start with how fluid the dialogue is between characters. Characters start talking before another character finishes, it sets a wonderful, fast pace for the film. Hawks doesn't stop there though. he doesn't let the characters just talk to one another, he moves them around the environment they inhabit. Occasionally interacting physically with each other and the objects in the surrounding environment. It matches the pace of the dialogue to a tee. What this does is draw the comedy - often biting in this case - from the seemingly benign scenes. It is a testament to how to effectively construct a comedy out of a story that does not necessarily need it. And that's just it, it's hilarious. If you're even briefly considering watching His Girl Friday, do yourself a favor and throw it on.
Creed (2015)
Ryan Coogler does it again
I saw Fruitvale Station in theaters, and I remember how it made me feel even to this day. Ryan Coogler (with the help of Michael B. Jordan) pulled it off again.
I cannot recall, from the top of my head, a sports film that was better directed than Creed. The boxing scenes build tension wonderfully, especially the last match, and the training sequences had me so excited for the ensuing fights. Other than those elements, Coogler added little things here and there that make Creed so special. For instance, the scene where Coogler pulls the camera away from Bianca (Tessa Thompson) and Adonis (Michael B. Jordan) and she explains to him, what the word "jawn" means. It is things like this and the shots of Philadelphia that make the film feel so much more authentic (including the inclusion of Meek Mill's music during a training montage). I absolutely cannot wait to see what Coogler does with Black Panther.
Anomalisa (2015)
Charlie Kaufman's writing hits all the right notes
The only other experience I have had with Charlie Kaufman comes from one of my favorite films of all time - Eternal Sunshine of The Spotless Mind. In Anomalisa he also tries his hand at directing as well, to great effect to be honest. However, that's not what I want to talk about.
The writing in Anomalisa, alongside its beautiful animation, is what makes the film so interesting. It's an exploration of the psyche of a man who is driven to his wit's end by the mundane nature of everyday life. It seems innocuous and certainly seems as though it may be difficult to make a movie out of it, but here is where Kaufman shines. His script allows for wonderful pacing. It capitalizes on silences in ways other scripts may be tempted to fill the silence with dialogue. This silence also allows his characters space to breathe and develop in the audience's eyes. He knows the backstory to these characters, the audience doesn't, so the difficulty comes at how to get that across without too much exposition. Kaufman does this by focusing on Michael Stone's loneliness and gradually drawing in details about his personal life, slowly transforming how the audience sees him throughout the course of the picture. It really is a wonderful character study of how mundanity takes its toll on our lives, and it is most certainly worth your time.
John Wick: Chapter 2 (2017)
Chad Stahelski's direction shines in masterclass in action filmmaking
I want to talk about Keanu here. I really do, but I didn't think I could pass up the chance to expand upon Stahelski's direction, because it was wonderful in this film. The film opens up the world of John Wick more than the first film did, and Stahelski gets really creative with how and what stunts he films.
From the scene on the train with Common's character Cassian to the finale in the hall of mirrors, Stahelski draws on previous films and filmmakers to create something all his own here. The first film in the series established that the direction was about actual fighting and how grueling it can be. The second film continues that trend. The first time Cassian and John Wick meet up, they get into a brutal hand-to-hand fight that lasts far longer than most directors would allow in action films and certainly with far fewer cuts. It's near exhausting to watch, but that's the point. Fighting isn't always fast and quick and clean (sometimes it is, and for that, we get the gun fu that John Wick does so beautifully), sometimes it's long, with no clear winner, and with no real outcome except pain. Stahelski's direction brings together wonderful performances from Keanu, Common, Ruby Rose, and more. This film is absolutely worth your time, and I cannot wait to see where Stahelski takes us next in the series.
Better Call Saul (2015)
Bob Odenkirk at his best
This particular review is based exclusively on the first season. I will come back and update it as I keep watching.
I was caught between three specific aspects that I wanted to write about, because that is how good I think this show is. I could have written about Vince Gilligan and Peter Gould's writing. I could have even talked about their directing. Both of those elements of the show are fantastic. However, I wanted to talk about Bob Odenkirk's performance as James McGill.
Odenkirk's performance is wonderful for both its at times boisterous nature and at other times quiet nature. Odenkirk moves between these two seamlessly. There is a particular scene late in the first season during a confrontation that Odenkirk manages to do both in the same scene. Typically, it's the direction in a scene where I notice what they do to build tension, in the particular scene I am referencing, it's Odenkirk's acting itself that builds the tension. You can see it on his face as soon as the scene starts. He starts to talk a little faster and lean more forward. He raises his voice a tad. He becomes more argumentative. He then slumps back in seeming exhaustion and as the viewer, I felt every single one of the emotions as he portrayed them. It was in that moment that when I wrote this review, I had to write it about Odenkirk's performance.
Scott Pilgrim vs. the World (2010)
Edgar Wright's wonderful graphic novel adaptation
This is my first IMDb review, and for these, I plan on writing about my favorite aspect of the film at hand (...even if I don't like it...). In the case of Scott Pilgrim vs. The World, it was Edgar Wright's direction.
Adapting novels to the silver screen can be a struggle for many directors, but that task gets even harder when the novel is one that already comes with a visual element - as is the case with Scott Pilgrim vs. The World. However, Edgar Wright retains the magic of the graphic novel, while being able to put his stamp all over the film. He makes great use of quick cuts throughout the film in order to string together both the progression of time and often humorous transitions. He also refused to abandon just how absurd the story of Scott Pilgrim vs. The World is and the film is all the better for it. Wright is also quite a good director of action scenes as well. The fight scenes aren't always so much intense as they are a lot of fun to watch - matching the experience of the entire film.