Saturday, 11 January 2025

Talk to Her review

 Number 308 on the top 1000 films of all time is Pedro Almodovar's 2002 Spanish psychological melodrama 'Talk to Her.'

Marco Zuluaga (Dario Grandinetti) is a journalist. Benigno Martin (Javier Camara) is a nurse. What connects these two different men is that the women they love  - pioneering matador Lydia Gonzalez (Rosario Flores) and talented dancer Alicia Roncero (Leonor Watling) respectively are in comas. The two men form an unlikely friendship, as they take care of their women.

This film is largely told in flashback, as we explore the reasons that Lydia and Alicia are in their comas. We also understand their relationships with Marco and Benigno in more detail. Admittedly, things take a while to get going, but when they do the film is enjoyable. Marco and Benigno are two different characters with two differing mindsets.

Marco is in despair over Lydia's condition whereas Benigno has an almost insufferable optimism about Alicia recovering and the two living happily ever after. The far-more grounded Marco often has to bring the fantasist Benigno back down to Earth. Despite this, the two quickly become friends.

They form a poignant and touching relationship, as we explore how different people react to grief. But as we approach the ending, things take an unnecessarily dark turn.

*Spoilers*

While Marco and Lydia are lovers, things are far more one-sided with Benigno and Alicia. Before she enters her coma, Benigno forms an unhealthy obsession with her. He is overjoyed at finding out that he will be the nurse assigned at looking after her. But then it is implied that this obsession has grown so toxic that he goes onto rape and impregnate her.

From there, the film takes a different turn, as Marco desperately tries to prove his friend's innocence. Although I found it strange that nobody took a paternity test from Alicia's baby. Yes, it was stillborn, but surely this could have been the one thing that either affirmed or denied Benigno's guilt. And we never got a positive answer either way.

I didn't like the dark path that this film took. Up until this point, it seemed like a feel-good, heart-warming picture that helps you find hope in even the darkest of places. But then that was all undone by the unnecessarily dark ending.

Monday, 6 January 2025

The Searchers review

 Number 307 on the top 1000 films of all time is John Ford's 1956 Western 'The Searchers.'

Ethan Edwards (John Wayne) is a civil-war veteran living during the Texan-Indian wars. When his niece Debbie (Natalie Wood) is abducted by the local Comanche tribe, he and his nephew Martin Pawley (Jeffrey Hunter) mount a years-long expedition to find her again.

Time for one of my least-favourite film genres: Westerns. I've never been a fan of cowboy films - not for any egregious reason. They're just not for me at all. The Searchers didn't really do much to shift the needle.

Perhaps that's because of John Wayne. Wayne was well-known for his cowboy films, but, after a while, they all kind of blend into one. From Ethan Edwards to Tom Doniphan to Rooster Cogburn, they all featured the hulking Wayne always playing the same role in the same way.

Edwards has strong anti Native-American sentiments, bringing him into conflict with his nephew Martin who is an eighth Comanche. Jeffrey Hunter was more convincing as the more straight-forward, as cut-and-dry hero. In contrast, Edwards was more of a not-so-lovable rogue.

His bigotry also rears its ugly head when he realises that Debbie has voluntarily assimilated into the local Comanche group who abducted her. Wood is a decent-enough actress. She was Oscar-nominated for Rebel without a Cause, as well as Splendor in the Grass and Love with the Proper Stranger. But she never had the proper time to shine here.

Yes, the Searchers had the stunning cinematography that depicted the old American-West, but it didn't do anything to make me become a fan of cowboy films.

The Straight Story review

 Number 305 on the top 1000 films of all time is David Lynch's 1999 biographical road film 'The Straight Story.'

The Straight Story tells the true-life story of Alvin Straight (Richard Farnsworth) - an ailing, elderly man living in Iowa. When he finds out that his estranged brother Lyle (Harry Dean Stanton) has suffered a stroke, Alvin determines to make amends. The only problem is that Alvin can't legally drive and Lyle lives 240 miles away in Wisconsin. Alvin resolves to drive there on a John Deere tractor that travels at 5mph. Sissy Spacek co-stars as his simple-minded daughter.

It's difficult to believe that this film was directed by the same David Lynch who directed Twin Peaks and Blue Velvet. It is the least 'Lynchian' film he has ever directed, despite how he described it as his most experimental film. Although considering he is so well-known for his surrealism, anything else would be considered experimental.

The Straight Story was an intimate, quiet, but powerful film that focussed on family and community. It featured Richard Farnsworth who was absolutely endearing as Alvin Straight. Farnsworth brought a vulnerability, but also a relatability to the role. Who among us hasn't wished we could make amends with their estranged family members? Farnsworth earned his Oscar nomination. It's just so heart-breaking that a year later, a cancer-stricken Farnsworth took his own life.

Nevertheless, he left behind a lasting legacy with the Straight Story. Alvin's story was a heart-warming tale of tragedy and triumph. He is a character determined to achieve his goals, regardless of whatever comes his way.

Film critic Roger Ebert compared the dialogue to the realism that you would read in a Hemingway book. He hit the nail on the head. The whole film, particularly the dialogue, felt painfully real. And this was down to Mary Sweeney and John Roach's script. They excelled in crafting an authentic script where there was as much power in what the characters didn't say, as well as what they did say. In a particularly powerful poignant scene, Alvin swaps traumatic war stories with a fellow veteran. Much of the scene's deeper meanings are left up to the viewer to figure out for themselves. It was subtle and understated with a brilliant subtext - the same can be said for the rest of the film.

Yes, you can argue that the ending is anti-climatic, but this film epitomises the phrase: "it's not the destination, but the journey." And this film was a hell of a journey.

The Artist review

 Number 304 on the top 1000 films of all time is Michel Hazanavicius' 2011 silent-film 'The Artist.'

George Valentin (Jean Dujardin) is a silent film-star who finds himself at crisis when the film industry is slowly transitioning to talkies. Will his relationship with rising star Peppy Miller (Berenice Bejo) help to save his career? John Goodman, James Cromwell, Penelope Ann Miller and Malcolm Mcdowell co-star.

Since beginning this challenge, I have seen my fair share of silent films from Charlie Chaplin to Fritz Lang's Metropolis. Yet the Artist failed to capture the same magic. It lacked the same physical comedy or emotional tenderness that you would get in a Charlie Chaplin film.

The first half hour of the Artist was painfully dull as we took too long getting to George Valentin's conflict. In many ways, you can argue he is a dinosaur - desperately clinging to a life that no longer exists. Sure, it would have applied to many silent-film stars, but this type of resentment to embrace the future that turned him into an arrogant, archaic fossil. Hell, even after much resistance even Chaplin started making talking pictures.

I understand this was all part of George's character-arc, but it did make him unlikeable. I'm going to be even more controversial and argue whether Jean Dujardin truly deserved the Best Actor Oscar. He was quite over-the-top, although I guess that would have been the expectation of the time and medium. And it wasn't like he had that much more competition during that year's Oscars.

More convincing was Berenice Bejo, as Peppy Miller, who brought a certain charm to the film. James Cromwell who played Valentin's fiercely loyal manservant was also good. But Malcolm Mcdowell and John Goodman could have had more to do.

The Artist was enjoyable enough for what it was, but it didn't match up to the silent films of old.

This is Spinal Tap review

 Number 298 on the top 1000 films of all time is Rob Reiner's 1984 mockumentary musical comedy 'This is Spinal Tap.'

David St Hubbins (Michael Mckean), Nigel Tufnell (Christopher Guest) and Derek Smalls (Harry Shearer) comprise Spinal Tap - the UK's hottest hair-metal band. However, upon their latest tour to the US, they quickly realise that their popularity is quickly fading. Meanwhile, Marty Di Bergi (Rob Reiner) is filming a documentary about their successes and failures.

This was Rob Reiner's directorial debut. He went onto direct hilarious comedies like The Princess Bride also starring Christopher Guest, as well as heart-breaking coming of age dramas like Stand By Me. While I loved those two films, I found This is Spinal Tap to be a little disappointing. It didn't make me laugh like the Princess Bride or cry like Stand By Me. In fact, I didn't feel much of anything.

I do feel part of that was down to the nature and structure of the film. Naturally, we start off seeing Spinal Tap at the dizzying heights of their success, but when you're that high up, the only way is down. As such, we quickly saw them self-destruct. Fame is a fickle beast and this inevitably happens to many different bands, but it's not fun to see it happen on-screen.

It didn't help that all three characters encapsulated the annoying, spoiled, diva self-destructive artist archetype that so many rock stars fall into. Yes, it was realistic, but it wasn't entertaining. Their constant squabbling and tantrums became tiresome after a while. Back in the day, one of my favourite bands was Oasis, but this was because of their music and not because of the in-fighting of the Gallagher brothers.

Speaking of music, I didn't find Spinal Tap's songs particularly memorable. Mckean, Guest and Shearer are all accomplished musicians and singers - they wrong, performed and song the songs themselves, but I didn't leave the cinema, so to speak, singing one of their songs.

When I think of mockumentaries, I think of the cringe humour you get in the Office or Parks and Recreation. Granted, that isn't a pre-requisite of mockumentaries, but there was still little humour in this is Spinal Tap. Even though, I was supposed to be laughing at the characters, I didn't care enough to do so. For that same reason, none of the film's emotional beats landed for me.

I do think that this was one of those cases where the film just wasn't for me. I'm just glad that Rob Reiner has continued directing. Sure, I didn't like this is Spinal Tap, but the Princess Bride remains as one of the best films ever.

Tuesday, 31 December 2024

Persepolis review

 Number 301 on the top 1000 films of all time is the French 2007 adult-animated, coming-of-age, biographical drama Persepolis.

Persepolis was directed by Marjane Satrapi and Vincent Paronnaud. Satrapi also wrote the film adapting it from her autobiographical graphic novel of the same name. It tells the story of Marjane (Chiara Mastroianni) a young woman growing up in the midst of the Iranian revolution. To escape the horrors, her family reluctantly send her to a French lycee in Austria, but after struggling to fit in and going through much trouble and strife, Marjane grows homesick and returns to her parents in Iran.

Ever since I started doing the challenge of watching the top 1000 films of all time, I've had the opportunity to watch some of the most amazing films that I never would have had the chance to have done otherwise. If it wasn't for this list, then I never would have heard of Persepolis, but thank God I did, because it was a great film.

Firstly, it looked beautiful on-screen. The animation was gorgeous. Granted, it was only simple two-dimensional drawings, but this was completely intentional. Satrapi requested that the animations were kept as simple and as traditional as possible, so as not to date the film. To that end, she also deliberately chose to have the film rendered in black-and-white. This all had the effect of giving the visuals a gentle beauty. Everything was subtle and understated. There was nothing to distract you from the story.

Just like the animation, the story was simple, but no less masterful. If you strip away the horrors of the Iranian revolution, we have a basic coming-of-age story. One where Marjane, who like everybody else, is looking for acceptance and meaning. In this sense Persepolis was a microcosm of real life. In a case of the grass being greener, Marjane reluctantly leaves her home for a new life in Europe, only to realise that her fantasies don't match up to reality.

On a more macro level, Persepolis also showcased the horrors of the Iranian revolution in stark and brutal detail. The horrors that the regime committed were laid bare for everybody to see. Nothing was dressed-up or exaggerated. Everything was real. The voice performances and the animation all added to this powerful presentation.

I thoroughly enjoyed Persepolis. It was a relatable story told and presented with basic, but gorgeous animation. Yes, it was simplistic, but simplicity is not always a bad thing, as Persepolis proved in spades.

Sunday, 22 December 2024

Megalopolis review

 Having been released in 2024, Francis Ford Coppola's Megalopolis is too young to feature on the top 1000 films of all time. It is unlikely to feature on any future editions of this list either.

Cesar Cantilina (Adam Driver) is a famous and influential architect in New Rome - an alternate, futuristic New York City. His creation of the element Megalon has proven revolutionary in constructing buildings. It has also brought him fame and fortune. He has visions of building a new utopic city called Megalopolis, but these plans bring him into conflict with New Rome's mayor Franklyn Cicero (Giancarlo Esposito.) The huge supporting cast includes Nathalie Emmanuel, Aubrey Plaza, Shia Laboeuf, Jon Voight, Talia Shire, Grace Vanderwaal and Dustin Hoffman.

Megalopolis has long been Coppola's passion project. After decades in development hell, he finally raised the money to self-finance the film by selling off part of his wine-making business. Yet it was not smooth-sailing from here.

Megalopolis had a troubled production from filming delays caused by the pandemic to Coppola's experimental style where he encouraged his cast to improvise scenes in theatre-style workshops. The visual effects and arts departments were either fired or resigned during production too.

All of this had a negative knock-on effect on Megalopolis. It was a pretentious, bloated, incomprehensible jumble of scenes with little to no plot. Coppola certainly wasn't short of ambition, but he couldn't convert that into a cohesive film. 

Inspired by the Catilinarian Conspiracy and the transition of the Roman Republic into the Roman Empire, Coppola tried modernising the story by transplanting it into a futuristic, science-fiction setting, but all this did was confuse things further. As well as being a trail-blazing architect, Cesar also had the power to stop time. Why? Because ... reasons.

I mentioned earlier that the visual effects and art departments were either fired or quit during the production. You could definitely see the end-result of that in the finished product, as the film looked incredibly inconsistent. Some parts like the cityscape from the top of Metropolis, but other parts looked like they were out of the worst acid trip ever. Did we really need to see Aubrey Plaza's face in a cup of tea? And as for the weird circus/gladitorial/Grace Vanderwaal show, that was just poor chaos. Not chaos in the good sense either. It was a confusing, overwhelming mess.

As for the acting, this matched the larger-than-life nature of the film. Driver, Esposito, Voight, Plaza and, especially, Laboeuf were dreadfully over-the-top. Granted the dialogue wasn't great - case-in-point, Voight talking about having a boner - but their performances were still so campy that it was difficult to take them seriously.

I really wanted to like Metropolis. The Godfather is one of my favourite films. Coppola is a titan of the film industry having also having also directed classics like Apocalypse Now. Yet he couldn't replicate that same success here. At eighty-years-old, this could very well be one of his last films. What a disappointing swansong. Never mind, Megalopolis. This was Megaflopolis.