#55 of 2011: O Brother, Where Art Thou?

as i become familiar with the work of the Coen Bros, they remind me more of Woody Allen in this way: i see what's going on in terms of style, and it is interesting (even astounding at particular moments), though as a whole, the thing doesn't shake me much. that said, it has to be acknowledged that with the Coens, specific triumphs (in narrative or character development or imagery) are often redemptive of the entire undertaking.

but first: a significant drawback. George Clooney's performance was possibly the most under-realized aspect of this movie, with the most obvious shortcoming being his line delivery- both his timing and his accent. i understand that his character is supposed to be a fast/sharp/smooth talker, so it makes sense for the audience to note a distinction between his speech and the drawls of his companions. but it becomes too obvious that he's half-assing when even John Goodman's minor character (also a salesman, and apparently a better one) sounds more authentic. and next to the measured and involved facial expressions and diction of Turturro and Nelson, Clooney simply comes off as unimpressive (instead of "faux impressive", as the writing seems to demand). Turturro and Nelson pull off the stylized melodrama with their typical comedic flair, especially when it's a tad corny. if Clooney weren't capable of doing the same, i might not feel so slighted. but that's what i get for watching "O Brother" after seeing "Burn After Reading". maybe he just needed time to learn.

now for the redemption: 1:09:03-1:09:21. i'm not sure if Roger Deakins or the Bros deserve the greater portion of credit for this, but it's a striking use of three things as simple as darkness, flashes of colored light, and camera movement (RESOURCEFUL EFFECTS. YES.).

what makes this different from other "camera descends into the narrative" scenes is its expertly nuanced balance between expressionism (dream sequence) and naturalism (scenery description). the camera pans down slowly while artificial blue flashes illuminate a branch so that it resembles the represented source of light. but the contrast is absolute between the black and the branch, and the flashes are short-lived and sparse, so that when a noose moves through the frame, it is logical to assume that what is being shown is simply a tree that has been prepared for a hanging. . . except that the darkness that follows the noose's appearance is invaded by an interior scene, with the camera continuing it's journey until it lands on a terrified John Turturro. it wouldn't make sense for a noose to be hanging above this building, and (because the panning had til now made sense) this is a bit jarring for the duration of the time it takes the camera to scan the room, from its rafters down to the bunks of sleeping men. by the moment movement ceases, by the time Turturro- awake amongst sleepers- fills the frame, the previous two images register not only as a combination that actually exists within the world of the story, but also as stark and terrifying fragments of a dream that has shaken this man awake. the camera's continued motion stitches everything together, paces the experience of the viewer in such a way that s/he and the character simultaneously "wake up". and it is good enough to recommend.

http://en.wikipedia.org/wiki/O_Brother,_Where_Art_Thou%3F

#107 of 2010: A Woman is A Woman

i don't have much of a desire to review Godard. that's not really an option based on how/why i watch his movies. and how/why is that? by making/to make a list, as follows:

emile (Jean-Claude Brialy): "why are you crying?"

angela (Anna Karina): "because i wish i could be both little yellow animals at the same time."

emile: "you always want the impossible."

angela: *smile*

angela says a general, contentedly-affirming-but-overall-emotionally-neutral thing in response to alfred's (Jean-Paul Belmondo) request to hear her thoughts and then she walks across the street away from the camera. he turns to the camera with his cigarette dangling out his mouth, says, "and off she goes," then turns away to watch her as the focus drifts up to the neon sign on the building.

alfred: "i'm very clever."

angela: "oh really? bet you can't do everything i can."

alfred: "bet i can"

several shots of them standing in identical poses, revealed in the last shot to have been angela's plot to get alfred back for slapping her ass by kicking his.

angela: "could you sweep the floor instead of acting like a jerk"

emile stops at the window and turns, the camera traces his sight line as the words "EMILE TAKES ANGELA LITERALLY BECAUSE HE LOVES HER" appear one by one across the screen, then disappear. the camera reaches her, she stands, and the camera pans back, a stare volley, while "AND ANGELA CAN'T BACK DOWN BECAUSE SHE LOVES HIM" appears last word to first word in a right to left progression.

after a little spikey speech back and forth, they both look down and then look up at some off center focal point, the camera starts a slow rotation leftwards, towards the door, and another sentence appears a few words at a time, backwards as the one about angela had: "BECAUSE THEY LOVE EACH OTHER EVERYTHING WILL GO WRONG FOR EMILE AND ANGELA". stops. volleys back to the couple with: "THEY MISTAKENLY THINK THEY CAN CROSS THE LIMITS DUE TO THEIR MUTUAL UNDYING LOVE".

alfred (Belmondo) says "make up your minds, Breathless is on tv and i don't want to miss it"

the boys whisper to each other and laugh, suddenly allied against angela's toying with them. somehow incredibly precious. everyone is on a schoolyard in demeanor.

woman: "they're showing vera cruz"

alfred: "my pal burt lancaster is in it" (turns to the camera, grits teeth in a Lancaster Grin)

angela flips an egg into the air, runs next door to answer the phone, asks alfred to hold on, runs back in her apartment, catches the egg.

happy ending with forgiveness and books and sex and Anna Karina winks at the camera.

http://en.wikipedia.org/wiki/A_Woman_Is_a_Woman

#106 of 2010: ...And God Created Woman

of all the movies i watched in 2010, this is the one from which i took the largest number of screen shots. the preponderance of camera setup/camera motion tics in ...And God Created Woman was unignorable. for instance, check out the "large dark visual metaphor for emotional distance hogging up a significant portion of the frame" trick:

zooming in and zooming out to indicate trouble for the sensitive young bro with a soulful nymph wife (who has not-so secret and not-so unfulfilled longings for older bro) is another common occurrence in the film, as seen here:

i don't have any shots of what was probably the most moving scene (fittingly the near-tragic violent climax). certainly i was too transfixed by Ms. Bardot's impassioned, solitary dancing to interrupt. instead of reading me ramble on about how refreshing it was to see a smoking hot young woman embrace her sensuality for the pure pleasure of it (rather than as a bargaining chip in the business of life), just watch this movie.

http://en.wikipedia.org/wiki/And_God_Created_Woman_(1956_film)

#105 of 2010: Casino

obvious compare/contrast-type statements: more Robert Deniro, a more convoluted relationship storyline, and a more graphic whacking of Joe Pesci's character (Nicky in this case) than we saw in Goodfellas.

now for what really sticks with me about this movie.

a subtle but important triumph of Casino is how effectively it utilizes voiceover. the entire film is narrated by the two main characters alternately, but there are two places where a disembodied voice plays an especially captivating/surprising role in the transpiration of a scene.

the first of these occurs around the 43:00 mark. it's the night of Ace and Ginger's wedding, and as she sits in the hallway outside of the reception, on the telephone with Lester (her slimy, unshakable emotional baggage personified), we see Ace come through the door to find her [Lester's voice: "this is great for us"]. cut to a reverse shot of what Ace sees: his new wife, the hitherto strong, charming, smart hustler with whom he has basically cut a deal in the hopes that they can have what they need from each other, now slouched, crying, clinging to a payphone outside her own wedding reception. just as the shot reverses to show us Ace's reaction to all this, Lester's voice continues, "I'm looking at you right now. I'm seeing you for the very first time, right this minute." Lester's creepy/nostalgic/manipulative remembrances of the Ginger he met when she was just 14 occur on the soundtrack simultaneously with Ace's first unavoidable glimpse into her past, his first real encounter with the side of Ginger that is still as malleable and scared and frail as if she were fresh on the street. we were already pretty sure that his willful ignorance and exaggerated sense of control were going to cause him trouble. now he's starting to see it that way, too.

the second striking voiceover comes at about 2:47:30, ten minutes shy of the credits. Nicky has gotten a big head, messed around, fouled up. and though Ace's narration clues us in on what's about to happen out in the cornfield, Nicky's voice reassures us that he organized this meeting, that he's gonna straighten things out, that he wants to make sure his "brother don't get fucked around. what's right is right. they don't give a fuck abou- AGGH!". the voiceover is cut short by a baseball bat to the back; the flashback catches up with the narration. it's a bit of a brainmess, sort of a paradox, but it is also effective. even the source of approximately half of the story can wind up beaten and buried still breathing alongside his brother in a cornfield. even a "made" narrator isn't safe.

and this line about Piscano: "this guy, basically, sunk the whole world". it's a good line.

Casino is tragic in the way that you see coming right from the beginning, but it makes sure to take you along for the ride. nifty camera manipulations. pretty splendid performances. worth recommending.

http://en.wikipedia.org/wiki/Casino_(film)

#103 of 2010: Multiplicity

I'm not kidding. Jmilz told me she wanted a review on the little cinematic gem that is "Multiplicity", and I aim to please with this blog. Obviously.

First observation: Micheal Keaton is not a "good actor". He falls somewhere between Kevin Costner and Nicolas Cage, almost as if he is, himself, the outcome of some hollywood genetic accident where the test tube "Cage's spaziness and gravel-whisper voice" got dumped into "Costner's bland looks and latent pattern baldness" and some kind of full grown baby happened, complete with plaid workshirt. Second observation: Micheal Keaton is impossibly hilarious in th(i/e)s(e) role(s).

The clones are easy, middle-school skit character sketches: Tough Guy, Effeminate Man, and The Idiot. But that sort of works here: in a movie about how what seems like a simple solution (and is treated in passing conversational hyperbole as one, which was undoubtedly the inspiration for this story in the first place) is actually a complex mix of drawbacks and advantages, it makes sense to take the three extremes of what men are and turn them into simple characters who interact externally in representations of the complex ways we all deal with our own facets, our own "versions" of ourselves. Ok, maybe that's a bit of a stretch, considering how much time is frittered away on the "I'm The Only One Who Sleeps With My Wife" rule and the instances of its being "bent" or "broken". That's not exactly a literal illustration of deep, metaphorical, existential quandaries (or. . .?).

Andie McDowell is delicate and lovely in a "normalish southern person with a perm" kind of way. It's a little sad that a movie that was made in 1996 treats the "working mom" thing as a MAJOR plot thickener, but I guess there are still, to this day, women dealing with that shit. As funny as Michael Keaton's character might be, he's also a totally self-involved asswipe. And maybe it's a bit problematic that what seems to be a marriage-breaking disconnect (in two ways: 1] to her, he appears to be erratic, unstable, and sometimes completely unresponsive to her based on which clone is standing in, and 2] even WORSE than the problems she perceives, he's actually OFF SAILING while instructing the stand-ins not to take any of the privileges of emotional intimacy even if they are the ones actually experiencing it and putting in the effort to achieve it, because he certainly isn't) is absolved with the expensive and time-consuming remodel of the kitchen. Well and I guess he promises to be a better husband, or something. Ok, sure.

I'm gonna slap a "recommended" on this, you know, why not. Plus Laszlo Kovacs as DoP?!

http://en.wikipedia.org/wiki/Multiplicity_(film)

#102 of 2010: Goodfellas

There were some great slo-mos, a gripping freeze frame at the instant of a firing gun's flare, and that CLASSIC zoom in/dolly out in the cafe. I wasn't so thrilled about Karen's freaking out voice, and I definitely thought that allowing her to narrate just for that little bit was detrimental to the effectiveness of the narration device as a whole. costuming was really notable, especially the outfit Henry wears as he beats the shit out of Karen's neighbor. There's more to say, clearly, but I'm making an effort to catch back up on these reviews. Recommend.

http://en.wikipedia.org/wiki/Goodfellas

#101 of 2010: The Wrestler

"The Wrestler" is punishing on several levels. It wraps up all the down(est)sides of everything from hero worship to commercialized body image to absentee fatherhood to nostalgia for the eighties (and the list goes on), while still getting viewers to care about what is happening to the characters (a point where that other Aronofsky adaptation, "Requiem for a Dream", largely failed, in my opinion). Mickey Rourke: yes. Marisa Tomei: yea, alright. Evan Rachel Wood: maybe not. The daughter storyline is to be expected. Of course this torn up old beast of a man fathered a child twentysome years ago (right?). But I feel like this aspect of the plot gets severely boiled down and serves (a little too exclusively) as an excuse for Randy to get to know the "Pam" side of "Cassidy". Which, cool, "we both have kids and shit, we both work in entertainment industries but are real people, look at us, we're real, but one of us definitely feels more real when we're working". And it's the super tan bleach blonde one. . . the man, the legend, the Ram. Cut to final RAM JAM. The End. I may have been too hard on "The Wrestler"'s narrative oomph, because immediately after I saw it, I watched "Goodfellas" for the first time, and of the two the latter stands out a bit more prominently in my mind. I still recommend the former, especially if you are into "walking in ____'s shoes" downers.

http://en.wikipedia.org/wiki/The_Wrestler_(2008_film)

#99 of 2010: Hara Kiri

In the tradition of non linear storytelling, "Hara Kiri" calls into question the efficacy of first impressions and, in the process, also casts doubt on the morality of strictly defining what kinds of behavior count as"honorable". Most of the film is fairly understated, but moments of tension (i.e. are they gonna make him stab himself with a bamboo blade?) are furiously anxious, and the quiet sadness of Tatsuya Nakadai's character is absolute.

http://en.wikipedia.org/wiki/Harakiri_(1962_film)

#98 of 2010: Exit Through the Gift Shop

Some of the dialogue/monologue is hilarious, but the "this guy is a schlub" shtick begins to breach overkill right around the time that Banksy starts to really paint himself as the genuine article/overlord/golden standard of socially integrated art-making. Maybe he is, and I don't care to get into that, I just wish that he would have allowed some of the criticism of his modus operandi/aesthetic to fall on his own shoulders instead of re-routing the whole deluge of "can you really call this guy an artist and sell his work as art" in "Mr. Brainwash"'s bumbling direction (and setting up a pretty clear analogy to a certain Mr. Hirst). I really enjoyed the scene with the "forged" currency, how in the end, anonymity or not, the artist knows that there are limits, that you can't just do ANYTHING and still expect to work and make an impact, and I wish there would have been more of those "oops" moments, not just for comedic effect. As for the "hoax vs. docu" semi-controversy, I went into the viewing with the idea that the "real subject" was fictionalized, and I enjoyed the bulk of the movie from that angle. Overall I'll recommend it, especially for people (like me) who are unclear on the development of "street art" as a genre.

http://en.wikipedia.org/wiki/Exit_Through_The_Gift_Shop

#96 of 2010: Inception

"thought it would be all about the visual, but it's more about the feel of it" -ariadne (ellen page)

no, ms. architect. you are mistaken. any feeling that "Inception" conveys is built primarily on visuals. in fact, not just the feeling, but the meaning and the narrative of the film are rooted much more firmly in aesthetics than in verbal poetics or hard logic. and i don't have a problem with this, because it made for incredible watching. that "waking up from 50 yrs of fantasy building" bit, where marion cotillard suicidally contemplates a knife in front of a positively glowing red vegetable on a cutting board- simple, stunning photography. and the dream world training run with ariadne was like a wonderful over-the-top magic stage routine during which you forget to keep track of the performer's hands. most of the movie is like that, if "the performer's hands" is seen as a metaphor for "the meat and bones of the story". of course, i'm not willing to let everything slide for the sensuality of the movie. one thing that annoyed me was how the male team members had to rely almost entirely on their ethnicities and quickly exemplified "special abilities" to provide distinction amongst them. their personalities were all but nonexistent. another gripe was the undue portion of the weight of the story that seemed cast on ariadne "accidentally" forcing her way into cobb's unconscious. and seriously, "ariadne"? the lovely, smart female student who dresses almost exclusively in obvious layers is not only the architect entrusted to build the dream worlds, but also the guardian of cobb's fragile secret and basically broken emotional composure? *her namesake is the thread girl who helped the youths get out of the labyrinth? then i don't understand why whoever was in charge of the soundtrack didn't make sure to play "dream weaver" every time the camera (playing the p.o.v. of cobb) turns to her.

although this short version of a review seems to lean towards negative, i have no trouble at all recommending "Inception". it is, in general, a compelling film and a legendarily beautiful parade of images.

http://en.wikipedia.org/wiki/Inception_(film)

*i had ariadne and arachne confused. duuuh. but still. blatent mythology tie in to do with textile production.

#95 of 2010: La Femme Nikita

see "B13" review regarding the characters and plots of Besson. Nikita was pretty dynamic, but still fit in to that description. there was a strangely relatable undercurrent throughout the whole thing relating to the helplessness of people trying to occupy their own lives despite the hellish trap of constant obligation. the love is jumped to in the story, but sincere feeling. the violence is not especially graphic, but in context it is disturbing and stripped of logic or explanation (as it probably should always be depicted). overall, she's not all laid out as a natural bad ass or a victim overcoming her trauma, she's pretty emotional and kind of quiet, and she's not a "nice girl". that's a protagonist that we don't often get to see in action films. also i was sad when victor died purely because of leon. recommend.

http://en.wikipedia.org/wiki/Nikita_(film)

#94 of 2010: Blackmail

billed as a thriller- and there were some suspenseful or downright thrilling parts- but more of a really really really dark comedy (no way that in any era all of those "knife gags" were intended to be straight scary). and intentional or not, it was a really good really really really dark comedy. recommended.

http://en.wikipedia.org/wiki/Blackmail_(1929_film)

#93 of 2010: B13

the script was fairly shallow, with the white, male, compassionate, heroic ass-kickers bringing it from both sides of the "tracks" (or wall) with wonderfully choreographed flair. as with several of mr. besson's film projects, the characters are fairly strong iterations of recognizable stereotypes, the underlying message is thought-provoking, and the outcome is warm and right, even though the situations sometimes skirt absurdity without fully embracing it (a dangerous place to be). i found the little sister's story undeniably lacking and hurried and flat where it could have either contributed or been left alone. but i'll recommend "B13" overall for the parkour and solid action storyline.

http://en.wikipedia.org/wiki/District_13

#90 of 2010: Short Circuit

i thought i had seen this as a kid but i'd actually only seen "Short Circuit 2", which has the advantage of starring the most entertaining two characters (Johnny 5 and Ben) without the baggage of ally sheedy's horrible failing and painfully unnatural line delivery (disclaimer: i haven't seen the sequel since i was maybe 6 or 7, so i can't vouch for it really being good. i do remember a sweet scene in a bookstore or library where Johnny 5 devours all the books, which i have wished i could do ever since). the anti-military theme reminded me of "Real Genius", but with fewer academia-based hijinks and less concern for developing characters that a viewer can really give a shit about. still- somehow- "Short Circuit" managed to be surprisingly delightful. No. 5 was alive enough to make up for (almost) everyone else's glaring creative incompetence.

http://en.wikipedia.org/wiki/Short_Circuit

#89 of 2010: Five Easy Pieces

jack nicholson as Bobby claims to not feel anything but what that actually means is he feels a lot of shit and it doesn't feel nice because he's a total Guy In The Seventies and doesn't know how to balance doing "hard work" plus "having a good time" with being a sensitive pianist and a scared little boy on the inside. his well-to-do family of musicians include people who he generally ignores, though his sister is an incredible sweetheart (smart and a tad awkward, but full of feeling and good humor). strained relationships with dad and bro, no surprise there, and depictions of troubled masculinity throughout the movie- from the physical ailments of dad (stroke) and bro (some neck thing, now he can't play his violin), to the law hauling away Bobby's dim, giggling pal (who seems to represent self-satisfied, "settled down" blue collar america, the authentic version of what Bobby pretends to be). as the film's most prevalent on-screen plot complications (the family issues are established as having arisen before the time period which is the subject of the film) are Bobby's relationships with two different women (an emotionally dependent, intellectually simple, gaudily feminine pregnant waitress who is Bobby's mental inferior but moral superior; and a softspokenly delicate, independent fellow musician (and soon to be sister-in-law) who is Bobby's emotional superior and intellectual equal), it is important to note (and commend) the depth and variety of gender depictions presented in "Five Easy Pieces". overall, it seems like the women (sister, pregnant girlfriend, short-term love affair) come off as more stable, thoughful, compassionate, and rational people, though there are certainly negative female counterpoints (the "pompous celibate" and the almost intolerable [but hilarious] hitchhiker). the most likable male character is probably the nurse, who is little more than a hulking, whitewashed mass of comic relief and a chance for the sweetheart sister to demonstrate her full personhood through sexuality. i'd like to go on about the visuals, but i've spent so much time on the gender bit that all i'll say is: that bit after Bobby gets on a moving truck and plays piano up the exit ramp, the next scene, he's walking around in what basically looks like a George Segal from the late 60's/early 70's, and it is evocative in the same way, with the same economy of image and lack of (need for) verbal explanations. also, T. Bak pointed out to me the expressionist use of the oil derricks in the aforementioned run-in-with-the-law scene, which is a praise-worthy utilization (and transformation, from eyesore to emotional barometer) of that machine.

http://en.wikipedia.org/wiki/Five_Easy_Pieces

#88 of 2010: Micmacs a Tire-Larigot

Some large, uncomfortable and unsightly stitches hold together the endlessly pleasing visual gags of "Micmacs" and the films fairly heavy (complete with close-ups of photos of war-mutilated children) anti-weaponry message. One of these stitches is a prolonged montage where the camera watches people watch YouTube and sometimes skips the people and watches YouTube directly. Like other reviewers of the film, I wouldn't have minded the romance between the comedian and the contortionist taking up a bit more screen time, but, "Amelie" this is not. In the end, the sight gags worked, and I liked the movie, holes, hasty sutures, and all.

http://en.wikipedia.org/wiki/Micmacs_(film)

#86 of 2010: Forbidden Planet

Leslie Nielsen is totally being serious: there is some heavy shit going down on this planet. Oh but first we'd better make sure we decide who gets the sexy daughter. Ok, it's Leslie, NOW we can try to figure out what's up with people getting ripped apart by some huge, malicious, unconquerable force. This movie was made in 1956, and I'd be willing to bet that it inspired more than a few kitschy/futuristic mansions. Despite hindsight and shifts in decorating tastes, the film is a pretty incredible visual feat. Good source material, too. The action/suspense/thriller agenda moved out of the way to let a healthy portion (in 50's sci-fi terms) of epistemology and ethics come across at several points, and the solution to the "what's eating/disemboweling gilbert astronaut?" riddle is pretty smart and well explained, if not a total surprise by the time it's revealed. I feel like that kind of dramatic irony was more respected back then, the kind where you make the characters even more dumb than the viewer so as to appeal to a wider audience and make people feel special. Of course there are contemporary examples. Like in that fucking "Da Vinci Code" book when a professional cryptologist has to stare at a scrap of text for HOURS before he thinks to get out a mirror. Dude, it's the name of the book. Hint. Anyways, I recommend "The Forbidden Plant" for it's fully electronic musical score, it's well-developed hypothetical super-intelligent beings and explanation of human research of them, and images like this one:

http://en.wikipedia.org/wiki/Forbidden_Planet

#80 of 2010: Moon

Sam Rockwell is, in general, fun to watch. The retro effects and costuming combine with the binary scenery (in the base or in the rover outside the base) and "British" filming to give the film a "walking with dinosaurs" style documentary kind of look into a time we can't see photographic evidence of. "Moon" is like a dramatization of the future, a recreation of what happens years from now, when the line between valuable life and expendable life rests in a different place than it does now (currently, corporations allow oil rig employees to blow up because safety hampers production. in the future that kind of abuse might be a little more flagrant). yea, the story wasn't air-tight. if it had been weightier, more emotionally demanding, i would have taken issue with the glaring moments of "nah-ah, no way". but the film was mostly sweet or funny or thoughtful rather than epic or conscience-shaking or heart-rending. its axe grinding was more akin to the main character's whittling (versus the extreme display of corporate greed in, say, "District 9"): it's not all that detailed, it simply beats sitting on your ass and forgetting about life's finer print (that is, what actually makes it matter, which people profess to care about, though not enough to read into it too deeply). what i mean is, Jones and Parker sort of indict LUNAR inc., but the story is more about being a human- and the "sarang" (the name of the base which i learned from wikipedia means "love" in Korean) that defines us, whether clones from a common source or simply fellow members of the species- than fighting "the man", or even picking out an "evil" "the man" to fight. "Moon" doesn't point fingers or seek violent comeuppance, it quietly asks us to consider the question of the opening credits: "where are we now ?" on the timeline that leads to the future depicted here.

http://en.wikipedia.org/wiki/Moon_(film)

#78 of 2010: The Notorious Landlady

first and foremost, i was surprised to find Jack Lemmon carrying himself more gracefully than Fred Astaire (who i kept wishing would break into a fit of irrepressible tap-dancing, but alas. . .). oh man, that scene where Jack's going downstairs to snoop around or get the scoop after he hears something, and down an entire flight of stairs his hunched shoulders and lowered brow both stay perfectly level, perfectly parallel to the floor. he just glides around. what a charmer. people (including me) say that the best actors aren't the drama mongers, the best actors are often the truly funny comedians. maybe they're the best dancers, too. Kim Novak was enchanting except for when she clung to Jack and bobbed her head and flung her eyebrows impossibly high, all alternately, robotically, and to some horrible rhythm. that was hard to watch, but it was over in a matter of seconds and she was her same slick, wide-faced whisperer once again. The crazy camera angles and light-speed panning and zooming at the moment of the movie-opening murder were notable, as was the coherence of the plot-driving mystery's resolution. it's a sexy romp and a sizzling suspense and might even be considered female-empowering. and if for no other reason, watch it because the guy who plays officer Oliphant is so. spot. on.

http://www.imdb.com/title/tt0056289/

#77 of 2010: Cria Cuervos

like "spirit of the beehive", "cria cuervos" is a movie about pivotal events during childhood, stars Ana Torrent as the central character, and allows children to be complex and/or uncomfortably (though realistically) amoral. the later film also echoes the earlier in the way that it treats fascism and political turmoil as secondary to the more immediate experiences of family life, but makes sure to demonstrate a strong connection between the socio-political situation of the time and the behavior of the adult characters, which in turn seems to offer insight into the behavior of the children. one thing I could have done without was the flash-forward adult Ana appearing on screen in several highly contrived scenes (she is basically a speaking bust that seems to be answering the unasked question "what was your childhood like?") where she explains how she felt at age nine. this could have been included to introduce some instability into the narrative, call into question what we've seen. after all, if the movie is taken as the telling of memories by the adult Ana, we can assume that a good deal of it is confabulation, and that would somewhat explain scenes like the strange mash-ups of arguments between parents, where the girl Ana circles and observes in a way that tells us that the scene is not literal, not meant to be understood as "what happened", and that the camera is not acting as a witness, but as a "mind's eye". still, i feel that the subjectivity of the visuals- the fact that we are meant to see the movie as a look into Ana's mind- was clear without the adult version applying her overarching conclusions retroactively. it might have simply been the lines in these scenes that i didn't care for, or the fact that a woman staring into a camera as if she is being interviewed by a psychologist (who happens to be more interested in studying What People Say About Childhood than Childhood Itself) is not as visually stimulating as seeing what a little girl thinks. regardless, the movie as a whole is a successful (moving, articulate, beautiful) argument for the differentiation between inexperience and innocence. watch it, and relish "porque te vas".

http://en.wikipedia.org/wiki/Cría_cuervos