#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

#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)

#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)

#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

#76 of 2010: The Celebration

"The Celebration" has been languishing in my DVD queue for months, hovering near the top but always being postponed in favor of a more recent recommendation. its turn finally came, and i was thoroughly blown away by it. i found out as the opening credits played that the film was the first movie made according to Dogme 95 requirements, and i was impressed with how polished and cohesive (in comparison to my only other experience with Dogme filmmaking, Korine's "Julien Donkey Boy") the whole thing turned out to be. i've said it before and i'll say it again: few things fill me with more admiration than financially resourceful executions of engaging visual storytelling. solid creativity can function on any budget, and this film exemplifies how much you can do with a bit of precise editing, some murky lighting, fantastic acting, and impeccable direction. the dream/drunk sequence towards the end was probably the most moving, most spot-on depiction of semi-consciousness that i have ever seen. also, while the plot revolves around tragic victimization, blatant/uncomfortable confrontation, and the struggle towards recovery within a family, it never feels like the "movie version" of something that happens in real life; it feels like the "real life version" (this from the perspective of someone who's never experienced anything like the film's premise first or second or even third hand). as a viewer, you're included as a guest at the table, you're a bystander trying to figure out how or if- once a horrendous act can no longer be ignored or denied- it might be possible to keep on existing.

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

#74 of 2010: The Spirit of the Beehive

everything about this film- from the lighting, to the editing, to the dialog between sisters, to the fade-as-small-scale-time-lapse technique, to the loose narrative (almost without plot, as the word is conventionally defined)- combines to create the effect that we are travelling back into our own childhood minds as we watch. "The Spirit of the Beehive" is not so much a story about a single fictional child as it is a reminder that children, living in the same disturbing world as adults without any guarantee of shelter from loss or grief or disillusionment, have the ability to cope in incredible ways. it's hard to say much about this movie except that it was transporting, filled with the awe and discovery of being young without any condescension, and without forgetting that there is pain and confusion (right alongside joy and beauty) in living, from day one on.

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

#63 of 2010: Battle Royale

holy distopian microcosm of teenagers participating in a twisted, government-ordered, popularly sanctioned bloodbath. this story and director do a fantastic job of taking the viewer along on the emotional and mental rollercoaster that the kids are strapped to by way of their electronic collars. there are points where you're definitely gonna want to shut it off, and it'll be because of the obliteration of cinematic boundaries of "decency" that you're used to as an American. the movie itself stands as an attention-holding, thought-provoking examination of social issues, especially those that make complicated shitstorms out of the lives of many young people. it serves it's humor dark and absurd, and even though you get a little pulled out of the drama and chuckle, deep down, the part where the girl shoots-to-kill the boy and the boy tells her to run and save herself and she says "why?" and he says "you're so cute", that's gonna give you back the ability to see the characters as kids, which in turn is going to make it even more clear how scary and fucked up the premise requires this future to be. watch it when you get the urge to rent a slasher, but subsequently realize that you'd like your disbelief to be suspendable and your two hours to mean something (even if it's not precisely clear what).

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

#56 of 2010: Fritz Lang's M

l killer, fritz lang, german, otto wernicke, peter lorre, social problems, suspense

this "first-cinematic serial killer" film (that's how it's billed in the netflix summary) is much less polarized- in terms of "good v. evil", "victim v. villain", "justice v. retribution", etc.- than you would expect if you hadn't seen anything else by Lang. based on my limited experience of the director's work ("Metropolis"), I certainly wasn't predicting a cut-and-dry morality tale, but I was surprised at just how complex, how condemning and also redeeming of EVERY character/character-type, this movie is. it'll yank on your emotions but it won't tell you what you'd need to do if it was real. you'll see the good in bad guys but it won't hold up outside of present circumstances. you'll see the bad in victim-mothers, and you'll have a hard time placing the divisions between complicity and willful ignorance and helplessness. like any examination of morality with real depth, this movie forces you to judge yourself as you judge its characters.

http://en.wikipedia.org/wiki/M_(1931_film)

#53 of 2010: Vera Cruz

it was a western. there were plenty of problematic portrayals of people of color. dialogue was stinted in favor of lancaster's (freakishly gleaming) teeth, but was often entertaining. too much discussion of unseen cautionary tale character, "ace". but some of the action shots were beautifully composed and followed through (good work, Mr. Laszlo).

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