I am very eager to recap the eight (that's right eight!) films I saw at WIFF 2010.
But first let's quickly cap up my favorite movies of 2009
#10. WHERE THE WILD THINGS ARE
9. AFTERSCHOOL
8. OBSERVE AND REPORT
7. RED CLIFF I AND II
6. STAR TREK
5. IGLOURIOUS BASTERDS
4. SILENT LIGHT
3. A SERIOUS MAN
2. THE WRESTLER
ooooo, I want to see all of them again!
NUMBER ONE:
CORALINE
I noticed with some surprise how #1 for 2009 happens to be in the same somewhat narrow category of film genres as #1 of 2008, since both Wall-E and Coraline are animated films geared for all ages. Despite my love of artistic violence and my distaste for movies that have characters that don’t act authentic to their gritty realistic setting, I seem to be most enthralled with movies that use the animated medium and the ability to literally create a fantastic world that taps into the pure escapism of cinema. I might go into a new film ready to analyze a style, or see if a performance matches up to the accolades it received, but when I want to just watch and be entertained, nothing seems to match the innocent and multi-sensual pleasure of a good narrative animation.
While Wall-E borrowed elements from a multitude of favorite genres and previous movies to make a perfect film catering to everyone, I think Coraline moved me in a more personal, tender way. Pop-up books were a real treat when I was a kid, with moving paper parts on each page adding new dimensions to child book illustrations while keeping in anchored in a literary medium. Coraline basically brought to life the most amazing pop-up book imaginable.
And with my interest in alternative animation growing, I also very much enjoyed that the film did not shy away from very dark imagery. Scenes could be both cute and the settings for nightmares, a juxtaposition of the evil and innocent that adds appropriate complexities to the movie and treats the audience like adults.
With particularly dazzling but somehow homespun visuals, Coraline continued the excitement I remember many moons ago of seeing Nightmare Before Christmas in an Oklahoma theater on Halloween night. As my viewing habits mature I can appreciate the grown-up storyline more while reminiscing on childhood fantasies, from the lighter and darker places of my psyche.
[I also eagerly picked up the Blu-Ray with 3D glasses of this movie, but I haven't had the time to watch it yet. This is still my #1 despite only a single viewing.]
Film festival report will be next!
Tuesday, April 20, 2010
Tuesday, April 13, 2010
Almost too late Tuesday
It's coming... my 3rd trip to the Wisconsin Film Festival!
You think I would want to hold off on the movies, but being home sick gives you a chunk of idle time that can't go unwasted (or wasted for that matter).
BIG FAN (2009)
Via Netflix Instant... I had heard a lot of nice things about this Patton Oswalt leading performance in a movie written and directed by the screenwriter of The Wrestler. It was great, with one of the best twist endings I have seen in a long time. I was pumping my fists in the air and how fooled I was about how the movie was going to end. Good job tricking the seasoned film-viewer!
YOU ONLY LIVE TWICE (1967)
Free James Bond on HD on Demand! After watching Bond films for a while now that have two influences on me. First, they make me want to travel... everything is shot so beautifully. Second... they tap into a base instinct to objectify women, but objectify them tastefully. I giggle at the garishness.
You think I would want to hold off on the movies, but being home sick gives you a chunk of idle time that can't go unwasted (or wasted for that matter).
BIG FAN (2009)
Via Netflix Instant... I had heard a lot of nice things about this Patton Oswalt leading performance in a movie written and directed by the screenwriter of The Wrestler. It was great, with one of the best twist endings I have seen in a long time. I was pumping my fists in the air and how fooled I was about how the movie was going to end. Good job tricking the seasoned film-viewer!
YOU ONLY LIVE TWICE (1967)
Free James Bond on HD on Demand! After watching Bond films for a while now that have two influences on me. First, they make me want to travel... everything is shot so beautifully. Second... they tap into a base instinct to objectify women, but objectify them tastefully. I giggle at the garishness.
Wednesday, April 7, 2010
Out Sick... Film's the Cure
BONNIE AND CLYDE 1967 (Blu-Ray)
One of Time Magazine's 100 Best Films, this film bounced up to the top of my viewing list in a unique convergence of my movie watching and reading habits. Nixonland, a history of the sixties and the conservative movement that came highly recommended by many political blogs I follow, referenced this movie as a key to understanding the counter-cultural movement of that era. What's interesting is the subtle ways a hippie anti-authoritarian mentality is represented by a movie about 1930s gangsters. I definitely think I saw it differently with a political sensitivity as I thought of the references Nixoland makes to this movie. As a cinematic experience, I think it really moved at a solid pace and was over before I thought deep characterizations could be developed. But I think that's what made this film so groundbreaking... a surface level of violence and throw-caution-to-the-wind narrative that made future films like this more acceptable.
BATTLE IN HEAVEN (2005) Netflix Instant
Carlos Reygadas, who directed Silent Light and Japon, with this film in between, stands firm as my challenging pet indie director. All three of these films have been disturbing, sexually graphic, and very patiently paced, but I never have seen long steady shots of landscapes be made so deliberately to further a film's vision. One technique I found interesting in all three films is the use of non-professional actors. While distracting (maybe even moreso if I didn't need the subtitles) the use of them seems more appropriate when the Director makes the location and scenery the star. You can have any person on camera stare into the horizon contemplatively without saying a word... it takes great skill to film the environment around the character in a way that you internalize the character's struggles.
I think I do anticipate this fellow's next film more than other modern directors. His style is so distinctive and evolving, that there are many possibilities to where he can go.
One of Time Magazine's 100 Best Films, this film bounced up to the top of my viewing list in a unique convergence of my movie watching and reading habits. Nixonland, a history of the sixties and the conservative movement that came highly recommended by many political blogs I follow, referenced this movie as a key to understanding the counter-cultural movement of that era. What's interesting is the subtle ways a hippie anti-authoritarian mentality is represented by a movie about 1930s gangsters. I definitely think I saw it differently with a political sensitivity as I thought of the references Nixoland makes to this movie. As a cinematic experience, I think it really moved at a solid pace and was over before I thought deep characterizations could be developed. But I think that's what made this film so groundbreaking... a surface level of violence and throw-caution-to-the-wind narrative that made future films like this more acceptable.
BATTLE IN HEAVEN (2005) Netflix Instant
Carlos Reygadas, who directed Silent Light and Japon, with this film in between, stands firm as my challenging pet indie director. All three of these films have been disturbing, sexually graphic, and very patiently paced, but I never have seen long steady shots of landscapes be made so deliberately to further a film's vision. One technique I found interesting in all three films is the use of non-professional actors. While distracting (maybe even moreso if I didn't need the subtitles) the use of them seems more appropriate when the Director makes the location and scenery the star. You can have any person on camera stare into the horizon contemplatively without saying a word... it takes great skill to film the environment around the character in a way that you internalize the character's struggles.
I think I do anticipate this fellow's next film more than other modern directors. His style is so distinctive and evolving, that there are many possibilities to where he can go.
Subscribe to:
Posts (Atom)