Number 160 on the top 1000 films of all time is the French-Canadian war thriller Incendies.
Jeanne Marwan (Melissa Desormeaux-Poulin) and Simon Marwan (Maxim Gaudette) are twins whose mother Nawal dies of a stroke. Upon review of her will, they discover their mother has been keeping secrets from them. To honour their mother's last wishes, the twins travel to a unnamed country in the Middle-East to track down their brother and find the truth about what happened to their father who they believed to be dead.
It is heavily implied that the unnamed Middle-Eastern country is war-torn Lebanon. Through flashbacks, we discover that Nawal grew up in a Christian family during the build-up to the Lebanese Civil War. She becomes pregnant and tries running away with her boyfriend Wahab. However, her brothers catch her, kill Wahab and exile her to the fictional village of Daresh. War breaks out when she is there and she becomes a refugee.
Incendies follows two narratives - Nawal's story in flashbacks and Jeanne and Simon's story in the present-day narrative. While this was confusing at first, the editing wasn't always smoothest, after a while, the two narratives coalesced well together. Denis Villeneuve's brilliant direction never shied away from the horrors of war nor romanticised it. Through subtle allusions rather than all-out gore, we witness the terrible truths of the Lebanese Civil War. When Nawal is in prison, the only clue we receive of other prisoners being tortured is their gut-wrenching screams. And that's all we needed to get. Gory and graphic torture porn was not on the menu.
But beyond the horrors of war, there is real heart in the film. Incendies is driven by Jeanne and Simon's quest for the truth. Desormeaux is brilliant in her role as the dedicated daughter committed to unravelling the mystery. While Simon is initially hesitant, he soon joins his sister and Gaudette does well to portray Simon's inner conflict. But Villeneuve also does well to remind the viewer that even in the atrocities of war, it is possible to keep your humanity. After war breaks out in Daresh, Nawal escapes via a bus full of Muslim refugees. When they are stopped by Christian Nationalists, she is spared. She also desperately tries to save a little girl claiming she's her daughter, but to no avail.
The film hurtles toward a shocking conclusion and great plot-twist, the likes of which I won't spoil here. But overall this was an absolutely great film to watch. It is simultaneously heart-breaking and heart-warming. With power-house performances, Incendies never fails to remind you the true effect war can have on your soul.
Sunday, 19 April 2020
Tuesday, 14 April 2020
Gran Torino Review
Number 157 on the top 1000 films of all time is the 2008 drama Gran Torino.
Directed, produced and starring Clint Eastwood, Gran Torino focusses on Walt Kowalski - an angry, grumpy old man. Harbouring deep prejudices from serving in the Korean War, his whole life is changed when his Hmong neighbour Thao (Bee Vang) tried to steal his Gran Torino car. The two form a grudging relationship as Kowalski takes Thao under his wing, learning more about the Hmong people and himself in the process.
Racism and prejudice are right at the heart of Gran Torino. Kowalski is initially racist towards the Hmong people, the Hmong have their own prejudices towards white men like Kowalski and the Hmong gangs clash with Mexican gangs. Despite this, the portrayal of racism is always nuanced and well-represented. Eastwood's direction ensures that all the different perspectives are showcased well and things are never too preachy.
Gran Torino was also notable for being a Hollywood film with a predominant Hmong-American cast. And while Bee Vang alleged that the Hmong actors were not always treated like equals, all of the Hmong actors were great. Bee Vang brought a vulnerability towards Thao, but I was very impressed with Anhey Her who played Thao's older sister, Sue. She acts as Walt's spiritual guide and although he is difficult at times she doesn't give up. Anhey brought a true three-dimensionality to the role and her rapport with Eastwood was really great to watch. Whenever Kowalski said something less than PC, she had a riposte ready to shut him down.
Eastwood both directed and starred in the film and his direction was far superior than his acting (more than that below.) Throughout the film, Kowalski's inner turmoil within himself is always in the forefront of the action. In many ways, he becomes a reluctant hero, unwilling to accept any praise. The tension is always strong but there are some also much needed moments of levity. Kowalski has a great camaraderie with his Italian-American barber Martin (John Caroll Lynch.) The two of them share a back-and-forth where they are constantly breaking each other's balls with casually racist jokes.
If I were to criticise anything it would definitely be Eastwood's acting. I understand that Kowalski is supposed to be a grumpy old man. I understand this is his character arc and we're supposed to see him transform into a reluctant hero, as he learns more about the Hmong people. But Eastwood definitely over-did it. In every other shot, he has a thinly-veiled scowl on his face...even when he's smiling. Whenever Kowalski made an off-colour comment, I often found myself laughing at how much Eastwood overplayed it, which wasn't how I was supposed to react.
This was a terrific film and a great character study of racism and prejudice in America. Down to the twist ending, the stakes were always high and the acting was great. Well, apart from Eastwood...did we really need a "get off my lawn" line? Was that really necessary?
Directed, produced and starring Clint Eastwood, Gran Torino focusses on Walt Kowalski - an angry, grumpy old man. Harbouring deep prejudices from serving in the Korean War, his whole life is changed when his Hmong neighbour Thao (Bee Vang) tried to steal his Gran Torino car. The two form a grudging relationship as Kowalski takes Thao under his wing, learning more about the Hmong people and himself in the process.
Racism and prejudice are right at the heart of Gran Torino. Kowalski is initially racist towards the Hmong people, the Hmong have their own prejudices towards white men like Kowalski and the Hmong gangs clash with Mexican gangs. Despite this, the portrayal of racism is always nuanced and well-represented. Eastwood's direction ensures that all the different perspectives are showcased well and things are never too preachy.
Gran Torino was also notable for being a Hollywood film with a predominant Hmong-American cast. And while Bee Vang alleged that the Hmong actors were not always treated like equals, all of the Hmong actors were great. Bee Vang brought a vulnerability towards Thao, but I was very impressed with Anhey Her who played Thao's older sister, Sue. She acts as Walt's spiritual guide and although he is difficult at times she doesn't give up. Anhey brought a true three-dimensionality to the role and her rapport with Eastwood was really great to watch. Whenever Kowalski said something less than PC, she had a riposte ready to shut him down.
Eastwood both directed and starred in the film and his direction was far superior than his acting (more than that below.) Throughout the film, Kowalski's inner turmoil within himself is always in the forefront of the action. In many ways, he becomes a reluctant hero, unwilling to accept any praise. The tension is always strong but there are some also much needed moments of levity. Kowalski has a great camaraderie with his Italian-American barber Martin (John Caroll Lynch.) The two of them share a back-and-forth where they are constantly breaking each other's balls with casually racist jokes.
If I were to criticise anything it would definitely be Eastwood's acting. I understand that Kowalski is supposed to be a grumpy old man. I understand this is his character arc and we're supposed to see him transform into a reluctant hero, as he learns more about the Hmong people. But Eastwood definitely over-did it. In every other shot, he has a thinly-veiled scowl on his face...even when he's smiling. Whenever Kowalski made an off-colour comment, I often found myself laughing at how much Eastwood overplayed it, which wasn't how I was supposed to react.
This was a terrific film and a great character study of racism and prejudice in America. Down to the twist ending, the stakes were always high and the acting was great. Well, apart from Eastwood...did we really need a "get off my lawn" line? Was that really necessary?
Sunday, 12 April 2020
The Maltese Falcon review
Number 154 on the top 1000 films of all time is the 1941 film noir The Maltese Falcon.
Sam Spade (Humphrey Bogart) is a private detective hired by the femme fatale Ruth Wonderly (Mary Astor) to investigate her husband whom she suspects is having an affair. When Spade's partner is killed while tailing Wonderly's husband, Spade is thrown into a dark world of lies, deceit and morally grey characters.
I would argue that the Maltese Falcon is one of the earliest and best examples of noir cinema. From the low-key monochrome scheme to the cynical Sam Spade played brilliantly by Humprey Bogart. You could argue that Bogart is always typecast as the cynical, jaded reluctant hero especially in Casablanca and the the Treasure of the Sierra Madre but he is so damn good in these roles. He always brings a world-worn cynicism to his roles. Sam Spade is no exception.
He is hesitant to help Wonderly and immediately smells a rat when his partner is killed. His suspicions only deepen when his Wonderly reappears this time calling herself Bridget O'Shaughnessy. He only becomes further embroiled in the criminal underworld when Spade comes face-to-face with crime lord Kasper Gutman otherwise known as the Fat Man who wants to hire Spade to find a statuette of a Black Falcon from Malta - also known as the Maltese Falcon.
The film also explores the relationship between Spade and the morally duplicitous Wonderly. The two of them have a tempestuous romance. And even though Spade does have feelings for her, in the end he still does the right thing and turns her into the police. This internal conflict within Spade is the driving force of the film and Bogart performs well.
Overall this was an entertaining film with a great performance from Bogart. A must-see for any film noir fans.
Sam Spade (Humphrey Bogart) is a private detective hired by the femme fatale Ruth Wonderly (Mary Astor) to investigate her husband whom she suspects is having an affair. When Spade's partner is killed while tailing Wonderly's husband, Spade is thrown into a dark world of lies, deceit and morally grey characters.
I would argue that the Maltese Falcon is one of the earliest and best examples of noir cinema. From the low-key monochrome scheme to the cynical Sam Spade played brilliantly by Humprey Bogart. You could argue that Bogart is always typecast as the cynical, jaded reluctant hero especially in Casablanca and the the Treasure of the Sierra Madre but he is so damn good in these roles. He always brings a world-worn cynicism to his roles. Sam Spade is no exception.
He is hesitant to help Wonderly and immediately smells a rat when his partner is killed. His suspicions only deepen when his Wonderly reappears this time calling herself Bridget O'Shaughnessy. He only becomes further embroiled in the criminal underworld when Spade comes face-to-face with crime lord Kasper Gutman otherwise known as the Fat Man who wants to hire Spade to find a statuette of a Black Falcon from Malta - also known as the Maltese Falcon.
The film also explores the relationship between Spade and the morally duplicitous Wonderly. The two of them have a tempestuous romance. And even though Spade does have feelings for her, in the end he still does the right thing and turns her into the police. This internal conflict within Spade is the driving force of the film and Bogart performs well.
Overall this was an entertaining film with a great performance from Bogart. A must-see for any film noir fans.
Saturday, 11 April 2020
Gone with the Wind review
Number 156 on the top 1000 films of all time is the epic historical love drama 'Gone With the Wind.'
Gone with the Wind tells the epic love story between the strong-willed Scarlet O'Hara (Vivien Leigh) and her tempestuous relationship with the dashing Confederate Captain Rhett Butler (Clark Gable.) Set against the backdrop of the American Civil War, the film also explores changing social attitudes of the 19th century.
According to many critics, Gone with the Wind is the best movie of all time. It won ten Oscars and constantly ranks highly in best movie lists. But the question is, does it live up to the hype? Does it still hold up today? Short answer, no. I really didn't like the film for a number of reasons. Firstly, the length. The film is just under four hours long and is certainly a lot longer than it needs to be. The pace is slow and it plods along. It takes ages for anything to happen and when it does it's very anticlimactic.
I also didn't like the text cards appearing on screen. They were used for nothing more than providing exposition and were unnecessary. I'd've much preferred to see this action unfold on screen. It was a lazy way of conveying information.
But what I disliked the most was the portrayal of the central characters. Let's begin with Scarlet O'Hara who did very little for the positive representation of women in film. I know Gone with the Wind was released in 1939, which wasn't a particularly progressive era, but in today's society, this film does not hold up at all.
Scarlet O'Hara begins the film as a petulant, whiny brat who complains and cries. I understand this is part of her character arc, but it also plays into negative stereotypes of women. As the film progresses, she assumes more agency and becomes more likeable, until her relationship with Butler becomes more serious. She then loses all of her development and reverts back to her early self. She obsesses over Butler and continues to cry and whinge.
And while Butler is certainly dashing and charismatic, but he is downright abusive and this does not make him likeable. He is a drinker and he constantly forces himself upon O'Hara, which did make for some uncomfortable watching. And what was that scene where he threatens to kill her in a drunken rage? But the next morning, he brushes it off with a meaningless apology.
One thing I did like though was how the film didn't shy away from the horrors of the Civil War. It was the most brutal war in American history and Victor Fleming did well in portraying it in all its brutality. O'Hara volunteers as a nurse where she witnesses a man having his leg amputated without anaesthetic.
I imagine that many film purists will attack me for this review. Maybe they'll say that I didn't understand the film well enough or the film is too nuanced and complicated for me, but frankly, my dear, I don't give a damn.
Gone with the Wind tells the epic love story between the strong-willed Scarlet O'Hara (Vivien Leigh) and her tempestuous relationship with the dashing Confederate Captain Rhett Butler (Clark Gable.) Set against the backdrop of the American Civil War, the film also explores changing social attitudes of the 19th century.
According to many critics, Gone with the Wind is the best movie of all time. It won ten Oscars and constantly ranks highly in best movie lists. But the question is, does it live up to the hype? Does it still hold up today? Short answer, no. I really didn't like the film for a number of reasons. Firstly, the length. The film is just under four hours long and is certainly a lot longer than it needs to be. The pace is slow and it plods along. It takes ages for anything to happen and when it does it's very anticlimactic.
I also didn't like the text cards appearing on screen. They were used for nothing more than providing exposition and were unnecessary. I'd've much preferred to see this action unfold on screen. It was a lazy way of conveying information.
But what I disliked the most was the portrayal of the central characters. Let's begin with Scarlet O'Hara who did very little for the positive representation of women in film. I know Gone with the Wind was released in 1939, which wasn't a particularly progressive era, but in today's society, this film does not hold up at all.
Scarlet O'Hara begins the film as a petulant, whiny brat who complains and cries. I understand this is part of her character arc, but it also plays into negative stereotypes of women. As the film progresses, she assumes more agency and becomes more likeable, until her relationship with Butler becomes more serious. She then loses all of her development and reverts back to her early self. She obsesses over Butler and continues to cry and whinge.
And while Butler is certainly dashing and charismatic, but he is downright abusive and this does not make him likeable. He is a drinker and he constantly forces himself upon O'Hara, which did make for some uncomfortable watching. And what was that scene where he threatens to kill her in a drunken rage? But the next morning, he brushes it off with a meaningless apology.
One thing I did like though was how the film didn't shy away from the horrors of the Civil War. It was the most brutal war in American history and Victor Fleming did well in portraying it in all its brutality. O'Hara volunteers as a nurse where she witnesses a man having his leg amputated without anaesthetic.
I imagine that many film purists will attack me for this review. Maybe they'll say that I didn't understand the film well enough or the film is too nuanced and complicated for me, but frankly, my dear, I don't give a damn.
The Big Lebowski review
Number 152 on the top 1000 films of all time is the Coen Brothers' crime drama The Big Lebowski.
Jeffrey "The Dude" Lebowski (Jeff Bridges) is a slacker. He is lazy, irresponsible oaf who only cares about bowling. However, a case of mistaken identity sees another Jeffrey Lebowski (David Huddleston), an eccentric billionaire, send the Dude on a mission to rescue his wife Bunny Lebowski (Tara Reid) after she is kidnapped and is held to ransom. Things go awry when the Dude's friend Walter Sobchak (John Goodman) conspires to keep the ransom for himself.
The Big Lebowski was great fun to watch. It was a classic slacker comedy with the awesome central character of the Dude. He is your standard reluctant hero. While he is relaxing at home, two thugs break into his home. Mistaking him for the other Jeffrey Lebowski, they intimidate him by peeing on his carpet. And all he wants after that is to have his carpet replaced. In his own words, it really tied the room together.
You can argue that at times things get a bit silly or abstract. The film is full of dream sequences and peculiar dialogue. Its characters are very strange. Walter Sobchak is an ultra-masculine war veteran who is hot-headed and aggressive. The Dude's life is run by his penchant for weed and rounding off these characters is the neurotic Donny (Steve Buscemi.) On top of this, the film is narrated by a cowboy. Donny is constantly mocked by Walter, but he ends up being killed by three German nihilists (yep, this film is weird) in a surprisingly touching moment. John Goodman showcases all his acting talent to convey some real emotion.
And while the film is a mixture of extremely bizarre and weird moments, they all convalesce together to create an eccentric but very watchable and entertaining film.
Jeffrey "The Dude" Lebowski (Jeff Bridges) is a slacker. He is lazy, irresponsible oaf who only cares about bowling. However, a case of mistaken identity sees another Jeffrey Lebowski (David Huddleston), an eccentric billionaire, send the Dude on a mission to rescue his wife Bunny Lebowski (Tara Reid) after she is kidnapped and is held to ransom. Things go awry when the Dude's friend Walter Sobchak (John Goodman) conspires to keep the ransom for himself.
The Big Lebowski was great fun to watch. It was a classic slacker comedy with the awesome central character of the Dude. He is your standard reluctant hero. While he is relaxing at home, two thugs break into his home. Mistaking him for the other Jeffrey Lebowski, they intimidate him by peeing on his carpet. And all he wants after that is to have his carpet replaced. In his own words, it really tied the room together.
You can argue that at times things get a bit silly or abstract. The film is full of dream sequences and peculiar dialogue. Its characters are very strange. Walter Sobchak is an ultra-masculine war veteran who is hot-headed and aggressive. The Dude's life is run by his penchant for weed and rounding off these characters is the neurotic Donny (Steve Buscemi.) On top of this, the film is narrated by a cowboy. Donny is constantly mocked by Walter, but he ends up being killed by three German nihilists (yep, this film is weird) in a surprisingly touching moment. John Goodman showcases all his acting talent to convey some real emotion.
And while the film is a mixture of extremely bizarre and weird moments, they all convalesce together to create an eccentric but very watchable and entertaining film.
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