메기 (MAGGIE)
Switched off. I loved the big white Polish subtitles on dark grey background. And that's it. Because it's one weird film. I kept wondering if the scattered narrative was a reflection of someone's scattered brain. The story's built around sex in an x-ray room and told with captions and by a narrator - every bit of it was annoying. Also, the movie gave an impression of being an amateurish production.
Reviewed from a screener, cinematic reception might differ.
Friday, 31 July 2020
Thursday, 30 July 2020
UN DIVAN A TUNIS (ARAB BLUES)
Watchable. I can see where they attempted comedy. 'Attempted' is the key word. I might be a biased feminist but what struck me from early minutes was sexism in the depicted Tunisian society and at some point even sorrow. Tunisia is portrayed as a country at crossroads between tradition and modernity, very much like Poland now but with the added economic and legal chaos smacking of Poland of the 1990s. Little in terms of a plot either. The whole thing is shallow and simplistic. Wasted potential.
Watchable. I can see where they attempted comedy. 'Attempted' is the key word. I might be a biased feminist but what struck me from early minutes was sexism in the depicted Tunisian society and at some point even sorrow. Tunisia is portrayed as a country at crossroads between tradition and modernity, very much like Poland now but with the added economic and legal chaos smacking of Poland of the 1990s. Little in terms of a plot either. The whole thing is shallow and simplistic. Wasted potential.
Wednesday, 29 July 2020
ROSSZ VERSEK (BAD POEMS)
Watchable. Not bad. The few actual verses recited in the movie aren't inspiring. But the film's truly poetic because of its lyrics and rhythm and that's what constitutes poetry. Fascinating camerawork, zany set piecies, e.g. a chamber orchestra with passengers turning out to be musicians one by one is a delight. The lead actor tripled as additionally the scriptwriter and also the director which explains the personal feel permeating the movie. The subject of lost love is nothing new but his search for it, in younger years mistaken for sex, is compelling.
JUST MERCY
Recommended. Harrowing and shattering. I needed several hours to pull myself together after the screening. When Johnny D fells a tree in the opening scene he doesn't know yet next it will be him going to be felled. The movie's released hard on the heels of African Americans' riots which spread across the US like wildfire. It may seem swift marketing but the importance of such a project made while so many white people don't get how inherently racist they are cannot be underestimated. What real life hasn't changed, such blockbusters can. Especially the US deep-fried South gets to see itself in a black mirror. The movie's set in Alabama, "the home of "To Kill a Mockingbird"" as the welcome road sign boasts and which is sarcastically used in the picture. But it's only the more chilling since the portrayed white locals find pride in a work of fiction blind to the horrors of reality. Plot-wise, it's a character-driven story from the director of Christian movie "Shack". No wonder the title carries religious connotations. But the topic's versatile and a church is only mentioned a couple of times as a social activity of the part of population which is offered help only in their final hours on the death row. Unlike "Shack", "Just Mercy" is heavy and loaded. "The opposite of poverty is justice."
Watchable. Not bad. The few actual verses recited in the movie aren't inspiring. But the film's truly poetic because of its lyrics and rhythm and that's what constitutes poetry. Fascinating camerawork, zany set piecies, e.g. a chamber orchestra with passengers turning out to be musicians one by one is a delight. The lead actor tripled as additionally the scriptwriter and also the director which explains the personal feel permeating the movie. The subject of lost love is nothing new but his search for it, in younger years mistaken for sex, is compelling.
JUST MERCY
Recommended. Harrowing and shattering. I needed several hours to pull myself together after the screening. When Johnny D fells a tree in the opening scene he doesn't know yet next it will be him going to be felled. The movie's released hard on the heels of African Americans' riots which spread across the US like wildfire. It may seem swift marketing but the importance of such a project made while so many white people don't get how inherently racist they are cannot be underestimated. What real life hasn't changed, such blockbusters can. Especially the US deep-fried South gets to see itself in a black mirror. The movie's set in Alabama, "the home of "To Kill a Mockingbird"" as the welcome road sign boasts and which is sarcastically used in the picture. But it's only the more chilling since the portrayed white locals find pride in a work of fiction blind to the horrors of reality. Plot-wise, it's a character-driven story from the director of Christian movie "Shack". No wonder the title carries religious connotations. But the topic's versatile and a church is only mentioned a couple of times as a social activity of the part of population which is offered help only in their final hours on the death row. Unlike "Shack", "Just Mercy" is heavy and loaded. "The opposite of poverty is justice."
Sunday, 26 July 2020
THE HUNT
Watchable. Engaging action, with decoys and twists but the back story based on a ludicrous idea that "the liberal elites" "murder people for fun". Action? A mixture of: "The Purge", "Hostel" and "The Hunger Games". I loved the opening where a text message is zoomed till the title appears. The first murder comes way too early - the protagonists agree. Fortunately, the rest rewards you with new revelations at each stage of the action. The very last scene is a delight. I loved the music over the end credits too. But the rightist agenda portraying the left as bloodthirsty psychopaths screeches in the game mechanism. Some ordinary rich hunting poor "deplorables" would have been more convincing.
LA BONNE EPOUSE (HOW TO BE A GOOD WIFE)
Watchable. Is Juliet Binoche in every French movie? OK, she's great in this one but I had seen too much of her elsewhere. The nun is fun - the best character and the picture's saving grace. One of 600 housewife schools existent in the early 1960s in France and the schooling depicted is fine. But the second half of the film is a far-fetched fable with Prince Charming turning up out of the blue and Princess Charming discovering her homosexuality all of a sudden as well. A rapid lesson in feminism turns old school obedient girls and adult women into revolutionary feminists overnight - hardly plausible. The finale goes bonkers with a silly dance ending in Juliet Binoche waving her arms like a windmill.
Watchable. Engaging action, with decoys and twists but the back story based on a ludicrous idea that "the liberal elites" "murder people for fun". Action? A mixture of: "The Purge", "Hostel" and "The Hunger Games". I loved the opening where a text message is zoomed till the title appears. The first murder comes way too early - the protagonists agree. Fortunately, the rest rewards you with new revelations at each stage of the action. The very last scene is a delight. I loved the music over the end credits too. But the rightist agenda portraying the left as bloodthirsty psychopaths screeches in the game mechanism. Some ordinary rich hunting poor "deplorables" would have been more convincing.
LA BONNE EPOUSE (HOW TO BE A GOOD WIFE)
Watchable. Is Juliet Binoche in every French movie? OK, she's great in this one but I had seen too much of her elsewhere. The nun is fun - the best character and the picture's saving grace. One of 600 housewife schools existent in the early 1960s in France and the schooling depicted is fine. But the second half of the film is a far-fetched fable with Prince Charming turning up out of the blue and Princess Charming discovering her homosexuality all of a sudden as well. A rapid lesson in feminism turns old school obedient girls and adult women into revolutionary feminists overnight - hardly plausible. The finale goes bonkers with a silly dance ending in Juliet Binoche waving her arms like a windmill.
Friday, 24 July 2020
10 GIORNI SENZA MAMMA (WHEN MOM IS AWAY)
Watchable. It's Italian so, unsurprisingly, about mamma. OK, the set-up is versatile and there have been comedies about men forced to take care of children aplenty. Yet here you feel the celebration of the position of mom in Italy. It's predictably entertaining and raises quite a few laughs, e.g. the whole teeth situation. And the perfect employee Alessandro is a hilarious and wonderfully exaggerated comic character. Even with fine performances all round, it's Niccolò Senni who just blows you away as the nasty rival at work. The career subplot is weaved through the narrative and its ending is not 100% predictable. Funny lines include war terminology in childcare: "Don't give in!" "My children aren't my enemies." Unfortunately, at times it turns cringeworthy and superficial with over-used bad jokes, e.g. about menstruation. At least nappies don't recur as another recycled attempt at amusing. Although the whole film is skillfully constructed, with the second act starting satisfactorily early, the supportive office worker subplot lacks conclusion.
Reviewed from a screener. Cinematic impression might differ.
Watchable. It's Italian so, unsurprisingly, about mamma. OK, the set-up is versatile and there have been comedies about men forced to take care of children aplenty. Yet here you feel the celebration of the position of mom in Italy. It's predictably entertaining and raises quite a few laughs, e.g. the whole teeth situation. And the perfect employee Alessandro is a hilarious and wonderfully exaggerated comic character. Even with fine performances all round, it's Niccolò Senni who just blows you away as the nasty rival at work. The career subplot is weaved through the narrative and its ending is not 100% predictable. Funny lines include war terminology in childcare: "Don't give in!" "My children aren't my enemies." Unfortunately, at times it turns cringeworthy and superficial with over-used bad jokes, e.g. about menstruation. At least nappies don't recur as another recycled attempt at amusing. Although the whole film is skillfully constructed, with the second act starting satisfactorily early, the supportive office worker subplot lacks conclusion.
Reviewed from a screener. Cinematic impression might differ.
Thursday, 23 July 2020
Cinema City has re-opened. It's comfy and friendly as ever and safer than most other venues due to higher seats (at least in the locations which have retained the soft, plush ones). I can see that the Covid-19 pandemic has resulted in a superb repertoire too.
ONWARD
Recommended. No wonder it's such a hit in the current Polish box office. It's delightfully imaginative. The Realm is completely worked out - toungue-in-cheek - and painstakingly created. A family of elves keeps a little pet dragon - which behaves like a dog and even kinda barks. A genial centaur cop, cyclops, hooligan pixies and plenty of other magical creatures inhabit a world looking like our contemporary reality. Two brothers embark on a quest filled with adventures. Their journey through the Realm is rich in detail, e.g. a plane can be seen on the sky when the heroes traverse the plain. Quip lines, Harry Potter way worded spells and a nod to "Back to the Future" provide extra fun. The messages the picture conveys are: authenticity pays off in business, a family together will conquer anything - that line of the story leads to a touching ending, I had tears in my eyes. It also tells about confronting your fears and anxieties. It caters to teenagers but will be appreciated by younger and older audiences too. "Sound created in Atmos" so it may be better listened to in that system, in a regular screening room you only hear one line coming undoubtedly from the side at some point. In Poland, the production's dubbed in Polish.
VIC LE VIKING (VIC THE VIKING AND THE MAGIC SWORD)
Recommended. I want such a squirrel! The smart, feisty, independent and cute animal aside, it's a visual fest: making use of a wide range of colours, catchy shading, like in the squirrel's fur, and textures, e.g. red hairs on a Viking's chest and legs. The whole thing is light in tone and witty, with masterful dialogues, in Polish - only a dubbed version available - translated by truly expert Bartek Fukiet. The sound surrounds you all the time. The tale is lovable, with music trappings, including " Ride of the Valkyries" which, in the cartoon, gives a comical effect. The picture has a reference to movies for slightly older audiences, since the action takes place in the realm of the Vikings and Asgard.
THE HIGH NOTE
Recommended. Have you ever felt like a PA to a superstar? Shoved around and put down at every step? Dakota Johnson sheds her erotic image, dons a T-shirt and jeans and excels in the role. Her character is someone who grew up among musicians which reminds of herself coming from an acting family. But it's not just her, there are fine performances all round. Kelvin Harrison Jr. shines as the budding star. And the self-absorbed, narcissistic celebrity Grace Davis is wonderfully scripted, also Tracie Ellis Ross is superb as the chuffed heroine of the stage. As for a flick about fictitious singers, the music sounds admirably professional. The deeper message is that it's those downtrodden people that make each star's success possible. But also how patronising men can be when offering career opportunities to women. As corny as the storyline and women power may sound, the film does not dumb the subject down and makes plenty tart observations.
ONWARD
Recommended. No wonder it's such a hit in the current Polish box office. It's delightfully imaginative. The Realm is completely worked out - toungue-in-cheek - and painstakingly created. A family of elves keeps a little pet dragon - which behaves like a dog and even kinda barks. A genial centaur cop, cyclops, hooligan pixies and plenty of other magical creatures inhabit a world looking like our contemporary reality. Two brothers embark on a quest filled with adventures. Their journey through the Realm is rich in detail, e.g. a plane can be seen on the sky when the heroes traverse the plain. Quip lines, Harry Potter way worded spells and a nod to "Back to the Future" provide extra fun. The messages the picture conveys are: authenticity pays off in business, a family together will conquer anything - that line of the story leads to a touching ending, I had tears in my eyes. It also tells about confronting your fears and anxieties. It caters to teenagers but will be appreciated by younger and older audiences too. "Sound created in Atmos" so it may be better listened to in that system, in a regular screening room you only hear one line coming undoubtedly from the side at some point. In Poland, the production's dubbed in Polish.
VIC LE VIKING (VIC THE VIKING AND THE MAGIC SWORD)
Recommended. I want such a squirrel! The smart, feisty, independent and cute animal aside, it's a visual fest: making use of a wide range of colours, catchy shading, like in the squirrel's fur, and textures, e.g. red hairs on a Viking's chest and legs. The whole thing is light in tone and witty, with masterful dialogues, in Polish - only a dubbed version available - translated by truly expert Bartek Fukiet. The sound surrounds you all the time. The tale is lovable, with music trappings, including " Ride of the Valkyries" which, in the cartoon, gives a comical effect. The picture has a reference to movies for slightly older audiences, since the action takes place in the realm of the Vikings and Asgard.
THE HIGH NOTE
Recommended. Have you ever felt like a PA to a superstar? Shoved around and put down at every step? Dakota Johnson sheds her erotic image, dons a T-shirt and jeans and excels in the role. Her character is someone who grew up among musicians which reminds of herself coming from an acting family. But it's not just her, there are fine performances all round. Kelvin Harrison Jr. shines as the budding star. And the self-absorbed, narcissistic celebrity Grace Davis is wonderfully scripted, also Tracie Ellis Ross is superb as the chuffed heroine of the stage. As for a flick about fictitious singers, the music sounds admirably professional. The deeper message is that it's those downtrodden people that make each star's success possible. But also how patronising men can be when offering career opportunities to women. As corny as the storyline and women power may sound, the film does not dumb the subject down and makes plenty tart observations.
Wednesday, 22 July 2020
17TH DOCS AGAINST GRAVITY FESTIVAL
4-18 September (taking into account all 7 city locations, e.g. Warsaw will be 4-13 September) instead of usual May - cinema screenings, afterwards: 19 September-4 October online, without "cinema rooms", it's going to be available all over Poland with no restrictions. Against Gravity's earlier online Docs Against Isolation was a huge success: 113 000 times movies watched in full. After the online festival, all of October will be devoted to online screenings, including previous editions films and workshops for schools. October ones will be available free, after collecting a virtual entry ticket. Over years the festival has grown to become one of the biggest documentary film events in the world. This year the whole program consists of almost half and half male to female movie makers' ratio. In the main competition, there are 15 female and 8 male directors - a result of purely artistic value, the festival programmers are of both sexes. From what I've heard in the (online) conference, my subjective interest is in the following films:
"Blizny" ("Scars") - a Polish documentary about former female warriors of the Tamil Tigers,
films about cinema: on Forman, Tarkovsky, Kubrick, Tarantino, Friedkin, the romantic comedy genre,
a section on various aspects of China, including the problem of smog,
Hubert Sauper's "Darwin's Nightmare" about Tanzania and how the game of global empires affects the poor.
Among potentially interesting events there'll be one devoted to the phenomenon of disbelief in science, replaced by a belief in conspiracy theories and creationism. And another one will delve into how rom-coms affect our partner choice. We can expect also a workshop that will cover dealing with the need of personal peace and the simultaneous need of activism.
There'll be a new section of home-made films - one I'm not going to follow closely. I don't expect content quality from those.
The conference, however convenient for typing notes, wasn't free from technical interruptions. I hope they'll won't hinder watching the online festival part. Also the film screened at the end was too quiet for a laptop and with interruptions:
NOMAD: IN THE FOOTSTEPS OF BRUCE CHATWIN
Watchable. The bristly fur of a brontosaurus in the beginning turns out to belong to a kind of prehistoric giant sloth. Chaos ensues for the following half the protracted film. The second half is still disorganized but lets you find trivia like a replica of Magellan's ship in Punta Arenas, hear of horrors - to the natives treated like animals - of the era of geographic discoveries, extending until 20th century, learn of free solo climber Stefan Głowacz and of King Nsein who personally acted in a feature movie on West African slave trade. I still don't get what the whole thing was to be about.
4-18 September (taking into account all 7 city locations, e.g. Warsaw will be 4-13 September) instead of usual May - cinema screenings, afterwards: 19 September-4 October online, without "cinema rooms", it's going to be available all over Poland with no restrictions. Against Gravity's earlier online Docs Against Isolation was a huge success: 113 000 times movies watched in full. After the online festival, all of October will be devoted to online screenings, including previous editions films and workshops for schools. October ones will be available free, after collecting a virtual entry ticket. Over years the festival has grown to become one of the biggest documentary film events in the world. This year the whole program consists of almost half and half male to female movie makers' ratio. In the main competition, there are 15 female and 8 male directors - a result of purely artistic value, the festival programmers are of both sexes. From what I've heard in the (online) conference, my subjective interest is in the following films:
"Blizny" ("Scars") - a Polish documentary about former female warriors of the Tamil Tigers,
films about cinema: on Forman, Tarkovsky, Kubrick, Tarantino, Friedkin, the romantic comedy genre,
a section on various aspects of China, including the problem of smog,
Hubert Sauper's "Darwin's Nightmare" about Tanzania and how the game of global empires affects the poor.
Among potentially interesting events there'll be one devoted to the phenomenon of disbelief in science, replaced by a belief in conspiracy theories and creationism. And another one will delve into how rom-coms affect our partner choice. We can expect also a workshop that will cover dealing with the need of personal peace and the simultaneous need of activism.
There'll be a new section of home-made films - one I'm not going to follow closely. I don't expect content quality from those.
The conference, however convenient for typing notes, wasn't free from technical interruptions. I hope they'll won't hinder watching the online festival part. Also the film screened at the end was too quiet for a laptop and with interruptions:
NOMAD: IN THE FOOTSTEPS OF BRUCE CHATWIN
Watchable. The bristly fur of a brontosaurus in the beginning turns out to belong to a kind of prehistoric giant sloth. Chaos ensues for the following half the protracted film. The second half is still disorganized but lets you find trivia like a replica of Magellan's ship in Punta Arenas, hear of horrors - to the natives treated like animals - of the era of geographic discoveries, extending until 20th century, learn of free solo climber Stefan Głowacz and of King Nsein who personally acted in a feature movie on West African slave trade. I still don't get what the whole thing was to be about.
Tuesday, 21 July 2020
EMA
Recommended. "Firestarter" comes to mind first. Later, the book of "I Ching" where the fire sign means it can either provide you with warmth or burn you. Ema is the heat and does she burn! She's a natural dancer, expressing everything with her body, oblivious to any potential barriers, e.g. she offers 1 litre of her blood to help out. She ignites both men and women, feeling completely at ease in her "big, dysfunctional family". Her actions appear impestuous and visceral. But she proves to be the best mother ever when you come to realize the whole intrigue. She choreographs everyone around her. Captivating music adds gravity, profundity or passion when needed. The main song "Destino" is in the rhythm of famous "Despacito" shifting the tone to lighter notes for the sake of pure pleasure. And the bit when a song tells part of the story feels almost like Bollywood. The movie has Atmos sound so it had even better be heard in this system where available. From the end credits you learn Gael García Bernal was treated like a star on set but in the picture, he's merely an addition to the magnetic Ema's (marvellous Mariana di Girolamo) flame. As is the town of Valparaiso, Chile where it was shot over 2 summer months by Pablo Larraín who had earlier produced "Una mujer fantástica" ("A Fantastic Woman"). You leave the theatre replaying the music in your head.
I got used to having the mask on at the cinema, barely noticed it this time.
Recommended. "Firestarter" comes to mind first. Later, the book of "I Ching" where the fire sign means it can either provide you with warmth or burn you. Ema is the heat and does she burn! She's a natural dancer, expressing everything with her body, oblivious to any potential barriers, e.g. she offers 1 litre of her blood to help out. She ignites both men and women, feeling completely at ease in her "big, dysfunctional family". Her actions appear impestuous and visceral. But she proves to be the best mother ever when you come to realize the whole intrigue. She choreographs everyone around her. Captivating music adds gravity, profundity or passion when needed. The main song "Destino" is in the rhythm of famous "Despacito" shifting the tone to lighter notes for the sake of pure pleasure. And the bit when a song tells part of the story feels almost like Bollywood. The movie has Atmos sound so it had even better be heard in this system where available. From the end credits you learn Gael García Bernal was treated like a star on set but in the picture, he's merely an addition to the magnetic Ema's (marvellous Mariana di Girolamo) flame. As is the town of Valparaiso, Chile where it was shot over 2 summer months by Pablo Larraín who had earlier produced "Una mujer fantástica" ("A Fantastic Woman"). You leave the theatre replaying the music in your head.
I got used to having the mask on at the cinema, barely noticed it this time.
Thursday, 16 July 2020
BABYTEETH
Watchable. I try not to read about a movie before seeing it so I didn't know it was going to be about yet another teenager with cancer. Normally even a thought about this worn, tacky subject makes me sick. However, this candy-coloured Australian caper managed to resist slushiness for long enough to prevent me from walking out. The corny ending ruined it but she finally died - no spoilers here, it's just the rule of the genre. When Moses staggers (attempting to swagger) onto the platform he resembles a drunk British tourist so much it's no surprise the actor (Toby Wallace) is British. His eyes look stoned and his demeanour is so addict-like you have to make sure the actor is not a junkie himself. But Ben Mendelsohn as the girl's father out-acts everyone. This widely experienced actor is the highlight of the picture bringing in humourous tones and lightening the mood. The topic is treated admittedly originally. Still, it appears to applaud drug use - all the four main characters do and even their pregnant neighbour smokes. The whole thing feels weird. And the picture could do without chapter titles - no reason for them.
Watchable. I try not to read about a movie before seeing it so I didn't know it was going to be about yet another teenager with cancer. Normally even a thought about this worn, tacky subject makes me sick. However, this candy-coloured Australian caper managed to resist slushiness for long enough to prevent me from walking out. The corny ending ruined it but she finally died - no spoilers here, it's just the rule of the genre. When Moses staggers (attempting to swagger) onto the platform he resembles a drunk British tourist so much it's no surprise the actor (Toby Wallace) is British. His eyes look stoned and his demeanour is so addict-like you have to make sure the actor is not a junkie himself. But Ben Mendelsohn as the girl's father out-acts everyone. This widely experienced actor is the highlight of the picture bringing in humourous tones and lightening the mood. The topic is treated admittedly originally. Still, it appears to applaud drug use - all the four main characters do and even their pregnant neighbour smokes. The whole thing feels weird. And the picture could do without chapter titles - no reason for them.
Wednesday, 15 July 2020
XABO: KSIADZ BONIECKI (XABO: FATHER BONIECKI)
Watchable. It never fails to tug on your heartstrings but... after 3 years of filming the priest, I'd expect better. It looks amateurish, has no structure. Even though the documentary has been translated into English, the film itself does not explain who the priest is or who and why has banned him from publishing - it's not clarified in the film that the Church authorities have - which makes his case a bit hard to comprehend. The titular priest is portrayed as a down to earth, humane, warm-hearted, devoted, extremely hard-working and a paragon of Christianity. The film is clearly meant as an antidote to the venom injected into the society by fundamentalist Catholic officials as well as politicians successfully dividing the nation. Rev. Adam Boniecki proclaims inclusion which, strangely, makes him a religious maverick. He's sage (and old). Large chunks of the film are existentialist which lets him share his gems of wisdom, e.g. in the emotive scene where an adult man tells him he can't come to terms with his mum's death the priest confesses he often asks his late mother for little favours like miraculous finding a parking spot. But the hardest hitting part is when he mentions his own personal sorrow about having to give up on marriage and having children. Is celibacy the root cause of the callousness of the institution of the Church as his deliberation indirectly infers?
Watchable. It never fails to tug on your heartstrings but... after 3 years of filming the priest, I'd expect better. It looks amateurish, has no structure. Even though the documentary has been translated into English, the film itself does not explain who the priest is or who and why has banned him from publishing - it's not clarified in the film that the Church authorities have - which makes his case a bit hard to comprehend. The titular priest is portrayed as a down to earth, humane, warm-hearted, devoted, extremely hard-working and a paragon of Christianity. The film is clearly meant as an antidote to the venom injected into the society by fundamentalist Catholic officials as well as politicians successfully dividing the nation. Rev. Adam Boniecki proclaims inclusion which, strangely, makes him a religious maverick. He's sage (and old). Large chunks of the film are existentialist which lets him share his gems of wisdom, e.g. in the emotive scene where an adult man tells him he can't come to terms with his mum's death the priest confesses he often asks his late mother for little favours like miraculous finding a parking spot. But the hardest hitting part is when he mentions his own personal sorrow about having to give up on marriage and having children. Is celibacy the root cause of the callousness of the institution of the Church as his deliberation indirectly infers?
Monday, 6 July 2020
Sunday, 5 July 2020
#JESUISLA (#IAMHERE)
Watchable. A pleasant, relaxing picture. Shot in French and Korean - the Polish version subtitles French dialogue only. The 1st third is set in France, the 2nd at picture-perfect Incheon Airport - which is like a small town, the 3rd in the city of Seoul. For a larger part, it's a postcard from South Korea. The French part emphasises everyone's infidelity and even promotes it for some reason. The Asian country is presented as beautiful, touristically attractive, high tech, well-organized, where politeness may conceal hostility but where people also happen to act on the spur of the moment sometimes expressing great friendliness and often indifference and disregard to other's feelings while insisting on observing 눈치 (nunch'i). It's kept light in tone, humourous at times.But from the very first minute till the end it's also a praise of living in the moment in which case it's precisely not bothering with others that makes it possible. A feelgood movie which at face value lacks depth. But isn't enjoying the moment enough?
Reviewed from a distributor's screener so cinematic reception might differ.
Watchable. A pleasant, relaxing picture. Shot in French and Korean - the Polish version subtitles French dialogue only. The 1st third is set in France, the 2nd at picture-perfect Incheon Airport - which is like a small town, the 3rd in the city of Seoul. For a larger part, it's a postcard from South Korea. The French part emphasises everyone's infidelity and even promotes it for some reason. The Asian country is presented as beautiful, touristically attractive, high tech, well-organized, where politeness may conceal hostility but where people also happen to act on the spur of the moment sometimes expressing great friendliness and often indifference and disregard to other's feelings while insisting on observing 눈치 (nunch'i). It's kept light in tone, humourous at times.But from the very first minute till the end it's also a praise of living in the moment in which case it's precisely not bothering with others that makes it possible. A feelgood movie which at face value lacks depth. But isn't enjoying the moment enough?
Reviewed from a distributor's screener so cinematic reception might differ.
Friday, 3 July 2020
HOPE GAP
Watchable. White cliffs, lucid, sparkling sea in Sussex (!) and colourful - like the estranged wife's clothes, homey, filled with plants, interior of the house enliven the mentions of historic events and classic poetry the couple specialize in. This use of scenography is evident also later when the husband and his son talk in a little white room with no decor whatsoever, as if there was nothing left in the man's life. The human detail is deftly handled in the story. The couple know each other inside out: not only daily habits like the way each of them takes their tea but even the sound of the partner's breath. A Napoleon's troops example at school deals with how to leave someone to die mercifully. Then you hear: "there is no next life" after a marriage "is murdered" which reflects the historic dilemma. The agony of waking every day after the break-up is staggeringly true. On a lighter (or is it?) note, the woman takes in a dog, calls him her husband's name and the first command she teaches him is "stay". The film is well-intentioned but emotionally distant which is probably down to Bill Nighy and Annette Bening in the cast. At least Jamie (Josh O'Connor) looks like a spitting image of young Bill Nighy, hence plausible as their, especially Edward's (Bill Nighy) son. The title refers to Hope Gap located in Seaford but also the metaphoric meaning of the period of hope right after the beloved person has split up with you.
Mercifully, I got a screener in English but... alas, it was hardly audible. Bad luck.
MIJN BIJZONDER RARE WEEK MET TESS (MY EXTRAORDINARY SUMMER WITH TESS)
Watchable. A summer picture where Dutch views like crabs on the beach and flatlands with bike paths surprisingly smoothly blend with salsa music. The 1 hour 23 minute long movie, however, feels bland and protracted. The action's quite generic and therefore predictable - for adults anyway, children to who the film's directed are more likely not to have seen all that before, copied from several other stories and too simple for the duration of the picture. At least it's all well acted. In Poland, it's dubbed in Polish but in a nice way. The song running over the end credits will have you humming all the way home.
FOUR KIDS AND IT
Recommended. Thoroughly entertaining, lovable, lightweight fantasy which blends live action with CGI animation. Starts with a girl choosing a book in a library. The ones she picks are: "Little Women" and "Spider's Web" - both have their film adaptations. And "Four Kids and It" is based on a novel by Jacqueline Wilson so the director is clearly winking to the readers. Psammead looks authentic and cute. Dialogues sparkle with tart one-liners, e.g. "I'm sorry, I don't understand you at all." "I'm American." "Good to know. I thought you had a speech defect". Adventures are captivating and you never know (or at least I don't, not having read the book) what the next wish is going to be, it's so imaginative. Catering to older children, it has delighted the adult me as well. I wished it lasted longer. Dubbed in Polish for the local market - sounds decently but inaccessible to English-speaking kids. That's it. There's a long scene along with the final credits.
DAS VORSPIEL (THE AUDITION)
Watchable. I've seen it all before. It's a pretty standard psychological drama comprising of generic tropes slapped onto the main storyline once here once there to keep the audience waiting for the conclusion. Lacks novelty. On the other hand, it's a rare occasion to see what violin lessons look like.
All the four reviews are based on distributors' screeners. Cinematic experience might differ.
Watchable. White cliffs, lucid, sparkling sea in Sussex (!) and colourful - like the estranged wife's clothes, homey, filled with plants, interior of the house enliven the mentions of historic events and classic poetry the couple specialize in. This use of scenography is evident also later when the husband and his son talk in a little white room with no decor whatsoever, as if there was nothing left in the man's life. The human detail is deftly handled in the story. The couple know each other inside out: not only daily habits like the way each of them takes their tea but even the sound of the partner's breath. A Napoleon's troops example at school deals with how to leave someone to die mercifully. Then you hear: "there is no next life" after a marriage "is murdered" which reflects the historic dilemma. The agony of waking every day after the break-up is staggeringly true. On a lighter (or is it?) note, the woman takes in a dog, calls him her husband's name and the first command she teaches him is "stay". The film is well-intentioned but emotionally distant which is probably down to Bill Nighy and Annette Bening in the cast. At least Jamie (Josh O'Connor) looks like a spitting image of young Bill Nighy, hence plausible as their, especially Edward's (Bill Nighy) son. The title refers to Hope Gap located in Seaford but also the metaphoric meaning of the period of hope right after the beloved person has split up with you.
Mercifully, I got a screener in English but... alas, it was hardly audible. Bad luck.
MIJN BIJZONDER RARE WEEK MET TESS (MY EXTRAORDINARY SUMMER WITH TESS)
Watchable. A summer picture where Dutch views like crabs on the beach and flatlands with bike paths surprisingly smoothly blend with salsa music. The 1 hour 23 minute long movie, however, feels bland and protracted. The action's quite generic and therefore predictable - for adults anyway, children to who the film's directed are more likely not to have seen all that before, copied from several other stories and too simple for the duration of the picture. At least it's all well acted. In Poland, it's dubbed in Polish but in a nice way. The song running over the end credits will have you humming all the way home.
FOUR KIDS AND IT
Recommended. Thoroughly entertaining, lovable, lightweight fantasy which blends live action with CGI animation. Starts with a girl choosing a book in a library. The ones she picks are: "Little Women" and "Spider's Web" - both have their film adaptations. And "Four Kids and It" is based on a novel by Jacqueline Wilson so the director is clearly winking to the readers. Psammead looks authentic and cute. Dialogues sparkle with tart one-liners, e.g. "I'm sorry, I don't understand you at all." "I'm American." "Good to know. I thought you had a speech defect". Adventures are captivating and you never know (or at least I don't, not having read the book) what the next wish is going to be, it's so imaginative. Catering to older children, it has delighted the adult me as well. I wished it lasted longer. Dubbed in Polish for the local market - sounds decently but inaccessible to English-speaking kids. That's it. There's a long scene along with the final credits.
DAS VORSPIEL (THE AUDITION)
Watchable. I've seen it all before. It's a pretty standard psychological drama comprising of generic tropes slapped onto the main storyline once here once there to keep the audience waiting for the conclusion. Lacks novelty. On the other hand, it's a rare occasion to see what violin lessons look like.
All the four reviews are based on distributors' screeners. Cinematic experience might differ.
Monday, 29 June 2020
LOLA VERS LA MER (LOLA)
Watchable. The beginning, bar the staggering funeral scene, is trite, regardless whether you treat it as a family conflict drama or a road movie. For about the duration of the first act, I couldn't stop thinking I had seen it all before. The conclusion's predictable too. But the middle is compelling. Lionel-to-Lola is trans and the picture uses the genre gimmicks at ease. Lola gets compared to a unicorn. When random children play with soap air bubbles, a rainbow appears. At the stop the travelling pair take, their hosts play gay icon Boy George's "Karma Chameleon". The music use extends to the meaning of lyrics in several pieces, most notably "I am feeling a little peculiar" from 4 Non Blondes' song "What's up" is played right when Lola is applying her make-up and her dad is gawping at the activity. Remarkably, the story commences and finishes in bright daylight and the catharsis takes place at night. The best thing about the picture is its clear structure and the fact it's perfectly comprehensible to straight folk. And also to the non-Belgian/French, in spite of some strictly cultural notions like men peeing in public places. As for examples of predjudices, those will be understood in narrow-minded Poland even better.
I'm reviewing it from a screener and, again, the white subtitles, even though of decent size, on white background were sometimes barely legible. I never had that problem at cinemas. I wonder if the contrast between whites was higher or if the subtitles for the big screen are different.
Watchable. The beginning, bar the staggering funeral scene, is trite, regardless whether you treat it as a family conflict drama or a road movie. For about the duration of the first act, I couldn't stop thinking I had seen it all before. The conclusion's predictable too. But the middle is compelling. Lionel-to-Lola is trans and the picture uses the genre gimmicks at ease. Lola gets compared to a unicorn. When random children play with soap air bubbles, a rainbow appears. At the stop the travelling pair take, their hosts play gay icon Boy George's "Karma Chameleon". The music use extends to the meaning of lyrics in several pieces, most notably "I am feeling a little peculiar" from 4 Non Blondes' song "What's up" is played right when Lola is applying her make-up and her dad is gawping at the activity. Remarkably, the story commences and finishes in bright daylight and the catharsis takes place at night. The best thing about the picture is its clear structure and the fact it's perfectly comprehensible to straight folk. And also to the non-Belgian/French, in spite of some strictly cultural notions like men peeing in public places. As for examples of predjudices, those will be understood in narrow-minded Poland even better.
I'm reviewing it from a screener and, again, the white subtitles, even though of decent size, on white background were sometimes barely legible. I never had that problem at cinemas. I wonder if the contrast between whites was higher or if the subtitles for the big screen are different.
Friday, 26 June 2020
JESTEM REN (I AM REN)
Watchable. I guess every woman in a relationship feels like that: any error and you can be chucked out, also, men can't tolerate when women feel more than the man which is exactly the case in the movie. Hard to believe it's written by a male (Piotr Ryczko). But the main topic quickly turns out to be not a failure/malfunction but domestic violence. All of that is lightly coated with science fiction. The storyline however is more of a whodunnit and the film leads you astray quite a few times. So, whereas the script is fascinating, sadly, it looks and sounds low-budget. Not only is it austere but it's poorly acted and filmed. Conversations sound monotonous in spite of the twists of action. Would work better as a short story or novel than a movie.
The review's based on a screener so a cinematic reception might differ.
Watchable. I guess every woman in a relationship feels like that: any error and you can be chucked out, also, men can't tolerate when women feel more than the man which is exactly the case in the movie. Hard to believe it's written by a male (Piotr Ryczko). But the main topic quickly turns out to be not a failure/malfunction but domestic violence. All of that is lightly coated with science fiction. The storyline however is more of a whodunnit and the film leads you astray quite a few times. So, whereas the script is fascinating, sadly, it looks and sounds low-budget. Not only is it austere but it's poorly acted and filmed. Conversations sound monotonous in spite of the twists of action. Would work better as a short story or novel than a movie.
The review's based on a screener so a cinematic reception might differ.
Thursday, 25 June 2020
地久天长 (SO LONG, MY SON)
Recommended. Austere but powerful. Limited locations. A story spanning a few decades of the recent history of China. Locations play a role in two ways: the same hospital room is the place where the woman loses both children in two strikingly different tragic ways, on the other hand, shabby, communist-time tiny flats are contrasted with modern-day posh venues. A very human drama casting a shadow for decades will tug on your heartstrings. It's so engrossing you don't feel the passage of time (about 3 hours). What initially appears to be random pieces of the families' lives comes to a fleshed-out conclusion. It's totally credible, including trivia like hospital transport staff skilled in kung fu, and makes you ponder about the inevitability of the events. Are we just pawns of politics and clogs of history?
This time the face mask didn't bother me. You can get used to it after all.
Recommended. Austere but powerful. Limited locations. A story spanning a few decades of the recent history of China. Locations play a role in two ways: the same hospital room is the place where the woman loses both children in two strikingly different tragic ways, on the other hand, shabby, communist-time tiny flats are contrasted with modern-day posh venues. A very human drama casting a shadow for decades will tug on your heartstrings. It's so engrossing you don't feel the passage of time (about 3 hours). What initially appears to be random pieces of the families' lives comes to a fleshed-out conclusion. It's totally credible, including trivia like hospital transport staff skilled in kung fu, and makes you ponder about the inevitability of the events. Are we just pawns of politics and clogs of history?
This time the face mask didn't bother me. You can get used to it after all.
Tuesday, 23 June 2020
NUESTRO TIEMPO (OUR TIME)
Watchable. Plodding pace means the 173 minutes do drag. At some point I started wondering if it was the same season outside. What kept me watching, though, was mesmerising cinematography - all landscape views and several outdoor scenes: arid, fractured soil, verdant agaves, dust, twilight, colours, changing light, clouds, mist, composition and the absolutely breathtaking plane-view of Mexico City are the picture's saving grace. The family and friends' storyline is interwoven with art and nature. The drum performance is interesting in itself as are artworks and above mentioned nature vistas. But they create straight in your face scenes where art and nature mirror the protagonists' life nearly back-to-back. And one of the leads is connected with nature so badly in one scene he's smacking his lips disgustingly all the time. At times you are also bombed with the voluptuous shapes of Carlos Reygadas' wife who he - being the scriptwriter/director/actor - is clearly obsessed with. The main plot reveals itself after an hour or so. The affluent ranch owner is revolting, authoritarian, controlling but internally broken which rings true. But both the couple's relationship and the love triangle are terribly far-fetched and the ludicrous climax strains credibility to breaking point.
As for the current epidemic restrictions, it was exhausting having to wear a mask during the screening and the bus travel to the cinema felt hazardous too.
DEBOUT (STILL STANDING)
Watchable. The documentary starting with a man first alcoholic, then crippled in an accident who went on to train yoga astonished me with a truly cinematographic opening - colourful reflections on asphalt and buildings in the rain. Later it strikes you with the diversity of yoga trainees, again accompanied by picture perfect film postcards from around the world. People undergoing rehabilitation after serious accidents, prisoners (where the HIV-positive prisoners look healthier and happier than their guard), fashionistas, school children all benefit from the exercises. While yoga is quite static, based on stretching, it appears to require a lot of stamina and agility. But the most powerful impact is on kids - turning cheeky brats into friendly, amicable pupils. The film applies various filming techniques and varied music for different countries' sections. Still, it's a bit overlong at times, could do with better, catchier music throughout and the initial mention of the documentalist's problem with alcohol never recurs for some reason. Also, it could do with more factual information, I'd love to see statistics for instance. But the core message is vivid and lucid.
The dense crowd queuing to the entrance and most people in the audience without masks, even after asked by staff to put them on, clearly created a health hazard. I can only hope none was a Covid-19 carrier. The evening bus trip back was even worse. An unmasked person sat right to me.
METRI SHESH VA NIM (JUST 6.5)
Watchable. It starts off as a regular crime drama - with a cop chasing a drug dealer. You quickly become aware of cultural differences between the West and Iran but for the most part that's it. OK, it is involving, you follow the investigation one lead after another. But it's only the finale that turns the tables and pushes the boundaries of the genre. The multi-angle approach to the topic elevates the crime drama to a powerful voice about the extent to which the addiction consumes Iranian society, the vicious circle of poverty and illicit activity and discovers not only several hazards of drugs but even its positive impact on destitute families. The latter constitutes an intrinsic fault within the crime fighting system: the punished ones, hanged under sharia law, are victims of the social system and misery. Clearly, the movie writes into the recent polemic with death penalty in Iranian cinematography. If it weren't for the multiple protagonists each with their own multiple issues, which overcomplicates the plot, the picture would be most admirable. Also having to read subtitles quickly doesn't make it easier if you don't happen to speak Persian.
The review's based on a screener, not a cinema viewing. White Polish subtitles were hard to read. Yellow(ish) ones would be better.
Watchable. Plodding pace means the 173 minutes do drag. At some point I started wondering if it was the same season outside. What kept me watching, though, was mesmerising cinematography - all landscape views and several outdoor scenes: arid, fractured soil, verdant agaves, dust, twilight, colours, changing light, clouds, mist, composition and the absolutely breathtaking plane-view of Mexico City are the picture's saving grace. The family and friends' storyline is interwoven with art and nature. The drum performance is interesting in itself as are artworks and above mentioned nature vistas. But they create straight in your face scenes where art and nature mirror the protagonists' life nearly back-to-back. And one of the leads is connected with nature so badly in one scene he's smacking his lips disgustingly all the time. At times you are also bombed with the voluptuous shapes of Carlos Reygadas' wife who he - being the scriptwriter/director/actor - is clearly obsessed with. The main plot reveals itself after an hour or so. The affluent ranch owner is revolting, authoritarian, controlling but internally broken which rings true. But both the couple's relationship and the love triangle are terribly far-fetched and the ludicrous climax strains credibility to breaking point.
As for the current epidemic restrictions, it was exhausting having to wear a mask during the screening and the bus travel to the cinema felt hazardous too.
DEBOUT (STILL STANDING)
Watchable. The documentary starting with a man first alcoholic, then crippled in an accident who went on to train yoga astonished me with a truly cinematographic opening - colourful reflections on asphalt and buildings in the rain. Later it strikes you with the diversity of yoga trainees, again accompanied by picture perfect film postcards from around the world. People undergoing rehabilitation after serious accidents, prisoners (where the HIV-positive prisoners look healthier and happier than their guard), fashionistas, school children all benefit from the exercises. While yoga is quite static, based on stretching, it appears to require a lot of stamina and agility. But the most powerful impact is on kids - turning cheeky brats into friendly, amicable pupils. The film applies various filming techniques and varied music for different countries' sections. Still, it's a bit overlong at times, could do with better, catchier music throughout and the initial mention of the documentalist's problem with alcohol never recurs for some reason. Also, it could do with more factual information, I'd love to see statistics for instance. But the core message is vivid and lucid.
The dense crowd queuing to the entrance and most people in the audience without masks, even after asked by staff to put them on, clearly created a health hazard. I can only hope none was a Covid-19 carrier. The evening bus trip back was even worse. An unmasked person sat right to me.
METRI SHESH VA NIM (JUST 6.5)
Watchable. It starts off as a regular crime drama - with a cop chasing a drug dealer. You quickly become aware of cultural differences between the West and Iran but for the most part that's it. OK, it is involving, you follow the investigation one lead after another. But it's only the finale that turns the tables and pushes the boundaries of the genre. The multi-angle approach to the topic elevates the crime drama to a powerful voice about the extent to which the addiction consumes Iranian society, the vicious circle of poverty and illicit activity and discovers not only several hazards of drugs but even its positive impact on destitute families. The latter constitutes an intrinsic fault within the crime fighting system: the punished ones, hanged under sharia law, are victims of the social system and misery. Clearly, the movie writes into the recent polemic with death penalty in Iranian cinematography. If it weren't for the multiple protagonists each with their own multiple issues, which overcomplicates the plot, the picture would be most admirable. Also having to read subtitles quickly doesn't make it easier if you don't happen to speak Persian.
The review's based on a screener, not a cinema viewing. White Polish subtitles were hard to read. Yellow(ish) ones would be better.
Monday, 22 June 2020
26. WIOSNA FILMOW (26TH FILM SPRING FESTIVAL) - ONLINE
شیطان وجود ندارد (THERE IS NO EVIL)
Recommended. Structure alternating grave distress with periods of normality, striking shots, the way of putting all the elements together make the picture compelling and bearable - taken the heavy topic - at the same time. Delves into the Iranian political system which requires you to get your hands dirty, examines how capital punishment entangles the society.
よこがお (A GIRL MISSING)
Watchable. Intriguing beginning. Seemed to develop into a crime story but turned out to be a psychological drama, on a bit disturbing side. Engaging but disappointing, especially that the crime subplot never gets explained.
SEULES LES BETES (ONLY THE ANIMALS)
Recommended. This crime drama is superb due to the astonishing African twist. On a deeper level, misplaced feelings and the complexity of inter-human and international economic relations.
I wish the online festival movies were screened louder. It's all great cinema, everything worked, you had a 4-hour slot to see the picture and could even pause or rewind 15s back - clearly thought through, with decent-size subtitles but music and other sound effects were hard to hear and in film that matters too. Another hindrance was having to register, log in, know how to access the movie and refresh the site to start watching.
شیطان وجود ندارد (THERE IS NO EVIL)
Recommended. Structure alternating grave distress with periods of normality, striking shots, the way of putting all the elements together make the picture compelling and bearable - taken the heavy topic - at the same time. Delves into the Iranian political system which requires you to get your hands dirty, examines how capital punishment entangles the society.
よこがお (A GIRL MISSING)
Watchable. Intriguing beginning. Seemed to develop into a crime story but turned out to be a psychological drama, on a bit disturbing side. Engaging but disappointing, especially that the crime subplot never gets explained.
SEULES LES BETES (ONLY THE ANIMALS)
Recommended. This crime drama is superb due to the astonishing African twist. On a deeper level, misplaced feelings and the complexity of inter-human and international economic relations.
BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHE
Watchable. Double exposures of a road with a map superimposed on it or, better still, modern-day location views with scenes from century-old Alice Guy-Blaché's films - technically perfect. I think the double exposures applied by Pamela B. Green were no coincidence - it was Alice Guy-Blaché who used them first. The family and work ties presented in the documentary, though important, are complex and I don't quite get them. But it's touching to learn of her impact on other film-makers. The portrayal of the female pioneer of the cinema is comprehensive, Pamela B. Green finally gave her justice which had been denied by envious men writing history books.
The Polish version has white subtitles - for mostly black and white pictures - which renders them unintelligible, the transmission volume is very low so you can't hear much of Jodie Foster's (who was also one of several executive producers) narration or the interviewees either. The film started late too.
LA DEA FORTUNA (THE GODDESS OF FORTUNE)
Watchable. Set in Naples again - just like Ferzan Özpetek's earlier enigmatic "Napoli velata" ("Naples in Veils"). Shot beautifully in vivid colours which distinguishes it from the earlier tale. This one starts with a secret, then lets you forget about it only to bring it back towards the ending. I guess it'll speak to people in long-term relationships best since it revolves around the topic. It features Italian music, including songs but they dance to Turkish music, a nod to his origins.
SEURAPELI (GAMES PEOPLE PLAY)
Watchable. The distributor tried to pass it off as a comedy. But it's far from that. It's a serious in tone dissection of all sorts of relationships in a group of 30-year-olds who've mostly known each other since school. Christian Hillborg looks hot and in this manner stands out from the rest of the acting crew.
Tuesday, 16 June 2020
The last two from the very last night before the lockdown but at least one of the pictures is already back on the screen in just re-opened movie theatres:
SONIC THE HEDGEHOG
Watchable. Lovable zany protagonist - blue, fluffy, from the outer space and as fast as Quicksilver from X-Men but he plays up in a children's caper. James Marsden is a great match for him in the supporting role. Jim Carrey with Mortdecai-style moustache as Dr. Robotnik, however, is badly miscast. In fact, he's utterly annoying, even more so dubbed in Polish, where his voice is different - very low. The rest of the dubbing is vexing too. Some brilliant lines make up for it, e.g. :"Do you have your child in that bag?" "No. I mean, yes, it's a child, but it's not mine." Sonic acts like a child with ADHD but occasionally says something cute like "you covered me with a duvet". Song titles reflect action which follows in the footsteps of "Men In Black" but caters to a younger audience. The last scene and the mid-credit imply a sequel. I look forward to it. Just no more Dr Robotnik please.
BRAHMS: THE BOY II
Watchable. Good cinematography and sound effects at times surrounding you with mysterious whispers and once including a deafening one - not too loud but persuading your ears you're on a plane - impressive. British accents spoken but the movie's American, Canadian and Australian. Feeble attempts at jump scares. Worn out tropes make it plain boring. Additional gimmicks borrowed from "Halloween" and "Terminator" slapped onto the sequel succeed in convincing you there are way too many sequels. In one flick in that. It certainly jumps on the bandwagon of recent serialisation-mania but does so excessively.
SONIC THE HEDGEHOG
Watchable. Lovable zany protagonist - blue, fluffy, from the outer space and as fast as Quicksilver from X-Men but he plays up in a children's caper. James Marsden is a great match for him in the supporting role. Jim Carrey with Mortdecai-style moustache as Dr. Robotnik, however, is badly miscast. In fact, he's utterly annoying, even more so dubbed in Polish, where his voice is different - very low. The rest of the dubbing is vexing too. Some brilliant lines make up for it, e.g. :"Do you have your child in that bag?" "No. I mean, yes, it's a child, but it's not mine." Sonic acts like a child with ADHD but occasionally says something cute like "you covered me with a duvet". Song titles reflect action which follows in the footsteps of "Men In Black" but caters to a younger audience. The last scene and the mid-credit imply a sequel. I look forward to it. Just no more Dr Robotnik please.
BRAHMS: THE BOY II
Watchable. Good cinematography and sound effects at times surrounding you with mysterious whispers and once including a deafening one - not too loud but persuading your ears you're on a plane - impressive. British accents spoken but the movie's American, Canadian and Australian. Feeble attempts at jump scares. Worn out tropes make it plain boring. Additional gimmicks borrowed from "Halloween" and "Terminator" slapped onto the sequel succeed in convincing you there are way too many sequels. In one flick in that. It certainly jumps on the bandwagon of recent serialisation-mania but does so excessively.
Tuesday, 9 June 2020
W LESIE DZIS NIE ZASNIE NIKT (NOBODY SLEEPS IN THE WOODS TONIGHT)
Recommended. By the director of earlier excellent, chilling "Plac zabaw" ("Playground") who, as it turns out, grew up on slashers from the 80s. His latest movie is a slasher rich in cultural connotations, most comprehensible to foreigners, a few to Poles only (politics, choice of actors). It's 80s-style fun in the contemporary context of a boot camp for digital addicts. Shades of "Leatherface", "Terminator" and a few other classics are cast over vast swathes of Mazovian forests, whose sweeping aerial views are typical for opening sequences of the genre. A protagonist runs over the monster like Sarah Connor in "Dark Fate" - though the latest "Terminator" was released in October 2019 when the Polish caper was already in post-production. At another instance the person is placed behind bars in a car - like Kevin Spacey in the desert scene in "Se7en". Reading the end credits you come across the list of instruments: owl, woodpecker, saw, boy choir programming - the crew have done their best to recreate the "Psycho" music and sound effect in another mockery of an iconic scene. Even echoes of a fairy-tale - one where a girl kills a monster - can be found. The political references include: a meteorite, twin boys, a quote from Archbishop Jędraszewski. These need explaining. The meteorite, which brings to mind a famous incident in Chelyabinsk, Russia, in Poland is associated rather with "O dwóch takich, co ukradli księżyc" ("The Two Who Stole The Moon") - the movie most famous for twin boys in the cast who later became major actors of the political scene, one died tragically - in a plane crash near the Katyn forest in Russia - and the other is the president of the ruling party and is seen by every other Pole as a dictator obsessed with his deceased brother. The Archbishop infamously defended pedophile priests. Another strong point is excellent cast - both the experienced actors and the new faces - and characters. Exquisite Mecwaldowski plays an episode - the best role in the picture. Popular in comedy shows actors, Izabela Dąbrowska and Sebastian Stankiewicz, make a cameo. No wonder the film's hilarious, makes use of horror gimmicks and provides tension too. Good music - by Jimek - and sound effects. Judging from the ending, a sequel is likely.
23 shooting days, 8-9 scenes daily. Make-up would start in the wee hours. Bartosz M. Kowalski, who scripted, directed and co-edited the movie, had written out full editing back-to-back, each shot. It took 1.5 years from the concept to the premiere. Few people in Poland know how to make limbs and splashing blood but they managed just right. The stunning Polish forests where it was shot are located near Warsaw: Mazowiecki Park Krajobrazowy and Kampinos.
The movie was to be released just one day after the lockdown began so it ended up on Netflix. Now it's finally making its way on the big screen where it belongs.
HER DOCS FILM FESTIVAL
YOURS IN SISTERHOOD
Recommended. Contemporary women read out letters from 50 years ago. While lesbians' situation has improved enormously over the time, it's much easier to find employment and respect even in formerly masculinized professions and sexual harassment in the public is on the decrease, most of the letters sound terrifyingly up-to-date. Mostly house chores sharing, citizen versus the authorities and racial issues need improvement. Simple in form yet powerful.
ISLAND OF THE HUNGRY GHOSTS
Watchable. A bit on the slow side. But well thought through. Refugee detention centers on Christmas Island function like prisons: families split, no right to leave, with the added hardship of never knowing how long you're going to be there. The only thing the refugees can control is whether to live on. It's juxtaposed with great care taken to let migrating red crabs pass safely: building a bridge for them and closing roads for cars and, lastly, with a half-Aussie half-Arab family packing lots of stuff to leave their nice house. The documentary has also made me wonder what it feels like to spend a pitch-black night on the ocean, after the boat sank, when you can't see sharks but hear the screams of the people caught.
Recommended. By the director of earlier excellent, chilling "Plac zabaw" ("Playground") who, as it turns out, grew up on slashers from the 80s. His latest movie is a slasher rich in cultural connotations, most comprehensible to foreigners, a few to Poles only (politics, choice of actors). It's 80s-style fun in the contemporary context of a boot camp for digital addicts. Shades of "Leatherface", "Terminator" and a few other classics are cast over vast swathes of Mazovian forests, whose sweeping aerial views are typical for opening sequences of the genre. A protagonist runs over the monster like Sarah Connor in "Dark Fate" - though the latest "Terminator" was released in October 2019 when the Polish caper was already in post-production. At another instance the person is placed behind bars in a car - like Kevin Spacey in the desert scene in "Se7en". Reading the end credits you come across the list of instruments: owl, woodpecker, saw, boy choir programming - the crew have done their best to recreate the "Psycho" music and sound effect in another mockery of an iconic scene. Even echoes of a fairy-tale - one where a girl kills a monster - can be found. The political references include: a meteorite, twin boys, a quote from Archbishop Jędraszewski. These need explaining. The meteorite, which brings to mind a famous incident in Chelyabinsk, Russia, in Poland is associated rather with "O dwóch takich, co ukradli księżyc" ("The Two Who Stole The Moon") - the movie most famous for twin boys in the cast who later became major actors of the political scene, one died tragically - in a plane crash near the Katyn forest in Russia - and the other is the president of the ruling party and is seen by every other Pole as a dictator obsessed with his deceased brother. The Archbishop infamously defended pedophile priests. Another strong point is excellent cast - both the experienced actors and the new faces - and characters. Exquisite Mecwaldowski plays an episode - the best role in the picture. Popular in comedy shows actors, Izabela Dąbrowska and Sebastian Stankiewicz, make a cameo. No wonder the film's hilarious, makes use of horror gimmicks and provides tension too. Good music - by Jimek - and sound effects. Judging from the ending, a sequel is likely.
23 shooting days, 8-9 scenes daily. Make-up would start in the wee hours. Bartosz M. Kowalski, who scripted, directed and co-edited the movie, had written out full editing back-to-back, each shot. It took 1.5 years from the concept to the premiere. Few people in Poland know how to make limbs and splashing blood but they managed just right. The stunning Polish forests where it was shot are located near Warsaw: Mazowiecki Park Krajobrazowy and Kampinos.
The movie was to be released just one day after the lockdown began so it ended up on Netflix. Now it's finally making its way on the big screen where it belongs.
HER DOCS FILM FESTIVAL
YOURS IN SISTERHOOD
Recommended. Contemporary women read out letters from 50 years ago. While lesbians' situation has improved enormously over the time, it's much easier to find employment and respect even in formerly masculinized professions and sexual harassment in the public is on the decrease, most of the letters sound terrifyingly up-to-date. Mostly house chores sharing, citizen versus the authorities and racial issues need improvement. Simple in form yet powerful.
ISLAND OF THE HUNGRY GHOSTS
Watchable. A bit on the slow side. But well thought through. Refugee detention centers on Christmas Island function like prisons: families split, no right to leave, with the added hardship of never knowing how long you're going to be there. The only thing the refugees can control is whether to live on. It's juxtaposed with great care taken to let migrating red crabs pass safely: building a bridge for them and closing roads for cars and, lastly, with a half-Aussie half-Arab family packing lots of stuff to leave their nice house. The documentary has also made me wonder what it feels like to spend a pitch-black night on the ocean, after the boat sank, when you can't see sharks but hear the screams of the people caught.
Thursday, 21 May 2020
And yet from before the lockdown (some more is coming shortly):
HER DOCS FILM FESTIVAL
ORGANIZING THE (IM)POSSIBLE
Watchable. The shaky animation distracts from the words. I'd rather see more of the rooms to clean and at least the maids' damaged hands - never shown even once. I'd like to see their faces too, not just off-screen voices. But the hazardous working conditions and employee selection based on their vulnerability are interesting.
LA VIE D'UNE PETITE CULOTTE (THE STORY OF A PANTY)
Watchable. About hazardous work conditions too. But also about the ease of getting in the "cotton expert" job and nearly impossibility of getting out. And again with most utterances from the off-screen. Too much rambling about nothing. Would work better as a short.
The festival had quite an audience - nice and perfumed, around 95% female.
GOD IS NOT WORKING ON SUNDAY!
Watchable. The first half an hour brings nothing new to the Rwandan subject, just some feminist cliches. But the documentary shot over 8 years (2007 - research, no camera, gaining trust, 2008-2015 shooting) follows the best possible structure, getting heavier and heavier with hard-hitting: "the rain used to be red", the chilling reconciliation scene or the talk about being unable to look in the eye the child from rape.
Extra info coming from the Q&A after the screening: It also shows 2 ways of dealing with the memory of genocide: Germans after the Holocaust didn't talk for 25 years.The silence in Germany, in the director's eyes, is the reason behind current attacks on foreigners, even killings by the secret service. The director went to Cambodia when she was 16 but people wouldn't want to speak. Rwanda's better off because now they live in peace. In Rwanda, the well-planned reconciliation process hastened the pragmatic coming to terms with it. The perpetrators' detailed description of their actions makes them realize their guilt as well as provides information to the victims. And forcing forgiveness seems to work. To judge all the perpetrators would take 400 years because most judges were killed. 10-15 people yearly are killed now, 25 years later, because the culprits are scared to go to prison if revealed. The victims forgive so that no one will come and kill them at night. It also explains how the colonial divide-to-rule approach initiated the tribal division which resulted in the war. It took 2 years editing, with the women having the final say in what stays in the film. The director Photoshopped her permit to stay 4 years longer. Before the genocide women had no power, now Rwanda boasts the most feminized parliament in the world (64% female). The military government is a dictatorship though. The rape children get no support, not even HIV treatment.
PARNING (MATING)
Watchable. Hard to follow. Overloaded with technical gimmicks. If you don't understand Swedish, you often have to read the text messages in English and their subtitled voice conversation simultaneously. I also often lost the track of who was talking to who and about who. I was shocked how lightly the youngsters treated sex. The girl appears scatter-brained and drawing the guy into her craziness.
In the Q&A, both participants sounded like they wouldn't have started using Tinder if it hadn't been on the director's request. The weekly interviews would take 1.5 hours for him and 3 hours for the girl. They hadn't seen the other person's clips until the movie premiere. They both look quite ordinary now, the experimental phase is probably over. She used to think she was cool but then she saw herself. Edvin was also surprised with what he really looked like. Edvin doesn't find people jaw-dropping on Tinder as he does in real life when someone enters and he'd like their number. The filming stopped in 2017 and that was the end of "dating" as Edvin put it. So they decided to cultivate friendship instead, in order to learn to understand other people. But they're bonded for life through the movie.
What a waste of time when a Q&A is translated. You have to listen to everything twice. No wonder so many people leave in the course of it.
HER DOCS FILM FESTIVAL
ORGANIZING THE (IM)POSSIBLE
Watchable. The shaky animation distracts from the words. I'd rather see more of the rooms to clean and at least the maids' damaged hands - never shown even once. I'd like to see their faces too, not just off-screen voices. But the hazardous working conditions and employee selection based on their vulnerability are interesting.
LA VIE D'UNE PETITE CULOTTE (THE STORY OF A PANTY)
Watchable. About hazardous work conditions too. But also about the ease of getting in the "cotton expert" job and nearly impossibility of getting out. And again with most utterances from the off-screen. Too much rambling about nothing. Would work better as a short.
The festival had quite an audience - nice and perfumed, around 95% female.
GOD IS NOT WORKING ON SUNDAY!
Watchable. The first half an hour brings nothing new to the Rwandan subject, just some feminist cliches. But the documentary shot over 8 years (2007 - research, no camera, gaining trust, 2008-2015 shooting) follows the best possible structure, getting heavier and heavier with hard-hitting: "the rain used to be red", the chilling reconciliation scene or the talk about being unable to look in the eye the child from rape.
Extra info coming from the Q&A after the screening: It also shows 2 ways of dealing with the memory of genocide: Germans after the Holocaust didn't talk for 25 years.The silence in Germany, in the director's eyes, is the reason behind current attacks on foreigners, even killings by the secret service. The director went to Cambodia when she was 16 but people wouldn't want to speak. Rwanda's better off because now they live in peace. In Rwanda, the well-planned reconciliation process hastened the pragmatic coming to terms with it. The perpetrators' detailed description of their actions makes them realize their guilt as well as provides information to the victims. And forcing forgiveness seems to work. To judge all the perpetrators would take 400 years because most judges were killed. 10-15 people yearly are killed now, 25 years later, because the culprits are scared to go to prison if revealed. The victims forgive so that no one will come and kill them at night. It also explains how the colonial divide-to-rule approach initiated the tribal division which resulted in the war. It took 2 years editing, with the women having the final say in what stays in the film. The director Photoshopped her permit to stay 4 years longer. Before the genocide women had no power, now Rwanda boasts the most feminized parliament in the world (64% female). The military government is a dictatorship though. The rape children get no support, not even HIV treatment.
PARNING (MATING)
Watchable. Hard to follow. Overloaded with technical gimmicks. If you don't understand Swedish, you often have to read the text messages in English and their subtitled voice conversation simultaneously. I also often lost the track of who was talking to who and about who. I was shocked how lightly the youngsters treated sex. The girl appears scatter-brained and drawing the guy into her craziness.
In the Q&A, both participants sounded like they wouldn't have started using Tinder if it hadn't been on the director's request. The weekly interviews would take 1.5 hours for him and 3 hours for the girl. They hadn't seen the other person's clips until the movie premiere. They both look quite ordinary now, the experimental phase is probably over. She used to think she was cool but then she saw herself. Edvin was also surprised with what he really looked like. Edvin doesn't find people jaw-dropping on Tinder as he does in real life when someone enters and he'd like their number. The filming stopped in 2017 and that was the end of "dating" as Edvin put it. So they decided to cultivate friendship instead, in order to learn to understand other people. But they're bonded for life through the movie.
What a waste of time when a Q&A is translated. You have to listen to everything twice. No wonder so many people leave in the course of it.
Thursday, 7 May 2020
And some more from before the lockdown:
SCRIPT FIESTA
I only went to lectures and the Pitch Fiesta this year so I decided to some it all up in one place:
Alicja Grawon-Jaksik discussed legal negotiations between script writers and producers. She spoke as if to people in the know and used too many legal terms
Pilar Alessandra was very down to earth and gave plenty of useful tips for budding script writers. Nothing I wouldn't have commonsensically known but it was fun and I felt relieved that my hunches were all confirmed.
Ilona Łepkowska and Krzysztof Rak sat up the Script Writers Guild and boasted about how useful it was going to be. So far they've helped the writer of "365 dni" ("365 Days") enter the official premiere of 'his' movie - the producers hadn't invited him. They also discussed what to avoid in contracts and how important it was to have a lawyer.
Joanna Solecka covered 'Audience Design'. She brushed over how to market and why it mattered.
Jakub Stokalski and Wojciech Setlak discussed game scripts. Both were open to ad hoc questions.
Michał Oleszczyk conducted a very insightful "Home Alone" analysis.
The producers' panel comprised of Leszek Bodzak, Renata Czarnikowska-Listoś both of who rambled and Michał Chaciński who cut right to the chase. The first two expected dramas and clearly considered writers to be artists, the latter one saw them as artisans since all scripts needed alterations anyway, he represented a private company and was sales-oriented.
Anna Bielak, Agnieszka Wasiak and Krzysztof Rak talked about script doctoring which was about everything and nothing at the same time.
Jolanta Dylewska told us how to write with the camera person in mind. That was truly revelatory. Turns out time passage, smells and flavours can be transferred onto the screen.
Agnieszka Kruk summed up what everyone knows about biographies anyway. She also cited her own example of working on a script which showed how badly maternity ruins your career.
Luke Davies talked about his "Beautiful Boy". He confessed to having been a heroin addict for 10 years in his 20s. He also mentioned a "poet in him" which explains why I found the film lacklustre, just like the meeting with him, in fact.
The Pitch Fiesta let me talk to several producers. However, most didn't do the stuff I was after. Unreasonably stiffly defined 13-minute sessions caused queues to the most versatile ones. The table numbers were in such a disarray it was hard to find out who was who. And, just like last year, some producers didn't turn up and others did but weren't on the list.
In a meeting with Andrzej Mularczyk, who wrote the cult "Sami swoi" comedy trilogy, Ślesicki, the Warsaw Film School Chancellor, said to him: "Ja jestem pewien, że jeszcze wiele wspaniałych rzeczy nam pan napisze." "Ale już nie przeczytam."- the elderly writer responded. ("I'm sure you'll write many more wonderful things for us." "But I won't be able to read them.") Later, when the interviewer said we had time, he made sure: "Czy pani ma prowiant dla naszych gości?" ("Have you got food provisions for our guests?") I heard a mention that Mularczyk had nicked Kapuściński's wellies, which got me intrigued but the long story was even better. It turns out Andrzej Mularczyk was scared when he heard about casting Wacław Kowalski in "Sami swoi" because 'Waciu' had been in 16-18 movies, never longer than 6 minutes. The writer hates going to film sets but then the director made him. The actor got off the carriage, like in the script, and approached Andrzej Mularczyk holding his arms as if he was going to punch him, next held him up and said: "Człowieku, ja się urodziłem, żeby to zagrać!" ("Man, I was born to act in it!"). The writer believes the movie phenomenon is down to the fact he depicted the communality of the fate of thousands of Poles. He admits the memorable lines came from his uncle on his father's side. In total, Mularczyk scripted the "Dom" series and 15 other TV serials and 18 feature movies. He prefers a radio drama to a movie since a radio play leaves the content to your magination. As for movie genres, he explained that: "dramat jest wtedy, kiedy spotykają sie dwie osoby, które muszą, a komedia, kiedy spotykają się dwie osoby, które nie powinny. Teraz komedia powinna być polityczna." ("a drama is when who meets are two people who have to, a comedy when who meets are people who shouldn't. Now a comedy should be political.")
Artur Wyrzykowski's dissection of "Portrait de la jeune fille en feu" ("Portrait of a Lady on Fire") was schematic, caused lots of disagreement with his interpretations in the audience, including my own discontent.
Natalia Borawska from Papaya Rocks lacked basic public speaking skills, used more 'ers' than words, her presentation was superficial and she was grossly incompetent in the use of words.
This year the panels and Q&As were well organized, comprehensive, with plenty of time for questions. As for the presenters, some were wonderful, some incompetent. I was surprised many were film academy lecturers who have shot no movie themselves. What astonished me as well, several script writers don't think with images. I wonder why they deal in scripts rather than books. On the other hand, that explains why so many films and serials look so bland. One participant was so unprofessional that he even brought his baby/toddler with him. The kid caused awful disturbance, of course. The organizers were far too liberal with admissions to the festival.
SCRIPT FIESTA
I only went to lectures and the Pitch Fiesta this year so I decided to some it all up in one place:
Alicja Grawon-Jaksik discussed legal negotiations between script writers and producers. She spoke as if to people in the know and used too many legal terms
Pilar Alessandra was very down to earth and gave plenty of useful tips for budding script writers. Nothing I wouldn't have commonsensically known but it was fun and I felt relieved that my hunches were all confirmed.
Ilona Łepkowska and Krzysztof Rak sat up the Script Writers Guild and boasted about how useful it was going to be. So far they've helped the writer of "365 dni" ("365 Days") enter the official premiere of 'his' movie - the producers hadn't invited him. They also discussed what to avoid in contracts and how important it was to have a lawyer.
Joanna Solecka covered 'Audience Design'. She brushed over how to market and why it mattered.
Jakub Stokalski and Wojciech Setlak discussed game scripts. Both were open to ad hoc questions.
Michał Oleszczyk conducted a very insightful "Home Alone" analysis.
The producers' panel comprised of Leszek Bodzak, Renata Czarnikowska-Listoś both of who rambled and Michał Chaciński who cut right to the chase. The first two expected dramas and clearly considered writers to be artists, the latter one saw them as artisans since all scripts needed alterations anyway, he represented a private company and was sales-oriented.
Anna Bielak, Agnieszka Wasiak and Krzysztof Rak talked about script doctoring which was about everything and nothing at the same time.
Jolanta Dylewska told us how to write with the camera person in mind. That was truly revelatory. Turns out time passage, smells and flavours can be transferred onto the screen.
Agnieszka Kruk summed up what everyone knows about biographies anyway. She also cited her own example of working on a script which showed how badly maternity ruins your career.
Luke Davies talked about his "Beautiful Boy". He confessed to having been a heroin addict for 10 years in his 20s. He also mentioned a "poet in him" which explains why I found the film lacklustre, just like the meeting with him, in fact.
The Pitch Fiesta let me talk to several producers. However, most didn't do the stuff I was after. Unreasonably stiffly defined 13-minute sessions caused queues to the most versatile ones. The table numbers were in such a disarray it was hard to find out who was who. And, just like last year, some producers didn't turn up and others did but weren't on the list.
In a meeting with Andrzej Mularczyk, who wrote the cult "Sami swoi" comedy trilogy, Ślesicki, the Warsaw Film School Chancellor, said to him: "Ja jestem pewien, że jeszcze wiele wspaniałych rzeczy nam pan napisze." "Ale już nie przeczytam."- the elderly writer responded. ("I'm sure you'll write many more wonderful things for us." "But I won't be able to read them.") Later, when the interviewer said we had time, he made sure: "Czy pani ma prowiant dla naszych gości?" ("Have you got food provisions for our guests?") I heard a mention that Mularczyk had nicked Kapuściński's wellies, which got me intrigued but the long story was even better. It turns out Andrzej Mularczyk was scared when he heard about casting Wacław Kowalski in "Sami swoi" because 'Waciu' had been in 16-18 movies, never longer than 6 minutes. The writer hates going to film sets but then the director made him. The actor got off the carriage, like in the script, and approached Andrzej Mularczyk holding his arms as if he was going to punch him, next held him up and said: "Człowieku, ja się urodziłem, żeby to zagrać!" ("Man, I was born to act in it!"). The writer believes the movie phenomenon is down to the fact he depicted the communality of the fate of thousands of Poles. He admits the memorable lines came from his uncle on his father's side. In total, Mularczyk scripted the "Dom" series and 15 other TV serials and 18 feature movies. He prefers a radio drama to a movie since a radio play leaves the content to your magination. As for movie genres, he explained that: "dramat jest wtedy, kiedy spotykają sie dwie osoby, które muszą, a komedia, kiedy spotykają się dwie osoby, które nie powinny. Teraz komedia powinna być polityczna." ("a drama is when who meets are two people who have to, a comedy when who meets are people who shouldn't. Now a comedy should be political.")
Artur Wyrzykowski's dissection of "Portrait de la jeune fille en feu" ("Portrait of a Lady on Fire") was schematic, caused lots of disagreement with his interpretations in the audience, including my own discontent.
Natalia Borawska from Papaya Rocks lacked basic public speaking skills, used more 'ers' than words, her presentation was superficial and she was grossly incompetent in the use of words.
This year the panels and Q&As were well organized, comprehensive, with plenty of time for questions. As for the presenters, some were wonderful, some incompetent. I was surprised many were film academy lecturers who have shot no movie themselves. What astonished me as well, several script writers don't think with images. I wonder why they deal in scripts rather than books. On the other hand, that explains why so many films and serials look so bland. One participant was so unprofessional that he even brought his baby/toddler with him. The kid caused awful disturbance, of course. The organizers were far too liberal with admissions to the festival.
Tuesday, 24 March 2020
Wednesday, 18 March 2020
THE INVISIBLE MAN AT IMAX
Watchable. No Imax needed but a few jump scares result from top notch sound effects so the Atmos version will be best. Story-wise, it's a thriller about a psycho stalker which has adopted one sci-fi element (a very plausible invention) and some taken from horrors, like jump scares or people hurled around by an invisible force. A few surprises (I'm using this word on purpose) are counterbalanced by some fairly predictable solutions. I only didn't know till the end if the perpetrator would be killed or it'd be set for a sequel. Filmed in NSW, Australia. The views of San Francisco must have been added in post-production.
The new, uncomfortable plastic seats at the Warsaw Imax are a bit comfier than the ones at Arkadia but still make it harder (literally) to get through the whole film.
THE BURNT ORANGE HERESY
Walked out. Overtalked.
Watchable. No Imax needed but a few jump scares result from top notch sound effects so the Atmos version will be best. Story-wise, it's a thriller about a psycho stalker which has adopted one sci-fi element (a very plausible invention) and some taken from horrors, like jump scares or people hurled around by an invisible force. A few surprises (I'm using this word on purpose) are counterbalanced by some fairly predictable solutions. I only didn't know till the end if the perpetrator would be killed or it'd be set for a sequel. Filmed in NSW, Australia. The views of San Francisco must have been added in post-production.
The new, uncomfortable plastic seats at the Warsaw Imax are a bit comfier than the ones at Arkadia but still make it harder (literally) to get through the whole film.
THE BURNT ORANGE HERESY
Walked out. Overtalked.
Monday, 16 March 2020
While the COVID-19 virus has forced us to stay home, I'm posting what I saw before the national quarantine. None of it is urgent now but I do hope the movies will be on again or will premiere - depending on the title - when cinemas are allowed to re-open.
BAD BOY
Watchable. Patryk Vega's craftsmanship makes it just fine. The movie makes use of the best solutions of his earlier productions which works up to a point. The thing is it gives you a déjà vu feeling. Skillfully directed, especially the air view of an arrest. Good lines, e.g. when the arrested guy explains how he was able to resist for so long: "otoczyłem was" ("I surrounded you"). The movie's extremely brutal at times. The story is from rags to riches. No ending but I guess a sequel is coming.
IL TRADITORE (THE TRAITOR)
Watchable when seen again. I managed to tie up my loose ends after the first viewing - this movie requires attention to each word and picture. Still engaging, this time if felt slower and even pensive at times. And definitely less glamorous. I also think of Tommaso Buscetta's motivation differently - he chose the lowest cost of dealing with his enemies. Incarceration was the most effective revenge and protection at the same time.
Turns out director Marco Bellocchio is over 80 now. I therefore renounce what I previously said that directors should retire before 70. Not all.
SALA SAMOBOJCOW. HEJTER (SUICIDE ROOM: HATER)
Recommended. A gripping thriller, emotional at times, plausible. The flower scene was so absurd - on purpose - I burst out laughing. Maciej Musiałowski and Maciej Stuhr are superb in the roles of the hater and the politician respectively.The climax first seemed over the top but then I remembered events not only from Poland but also other countries. Definitely exportable stuff. The movie was scripted by Pacewicz of "Boże Ciało" ("Corpus Christi") fame, directed by Jan Komasa - the way he depicts men, again, I had the impression he was gay.
They finished shooting on 23rd December 2018. Polish politician, Adamowicz, was assassinated on 13th January 2019.
BAD BOY
Watchable. Patryk Vega's craftsmanship makes it just fine. The movie makes use of the best solutions of his earlier productions which works up to a point. The thing is it gives you a déjà vu feeling. Skillfully directed, especially the air view of an arrest. Good lines, e.g. when the arrested guy explains how he was able to resist for so long: "otoczyłem was" ("I surrounded you"). The movie's extremely brutal at times. The story is from rags to riches. No ending but I guess a sequel is coming.
IL TRADITORE (THE TRAITOR)
Watchable when seen again. I managed to tie up my loose ends after the first viewing - this movie requires attention to each word and picture. Still engaging, this time if felt slower and even pensive at times. And definitely less glamorous. I also think of Tommaso Buscetta's motivation differently - he chose the lowest cost of dealing with his enemies. Incarceration was the most effective revenge and protection at the same time.
Turns out director Marco Bellocchio is over 80 now. I therefore renounce what I previously said that directors should retire before 70. Not all.
SALA SAMOBOJCOW. HEJTER (SUICIDE ROOM: HATER)
Recommended. A gripping thriller, emotional at times, plausible. The flower scene was so absurd - on purpose - I burst out laughing. Maciej Musiałowski and Maciej Stuhr are superb in the roles of the hater and the politician respectively.The climax first seemed over the top but then I remembered events not only from Poland but also other countries. Definitely exportable stuff. The movie was scripted by Pacewicz of "Boże Ciało" ("Corpus Christi") fame, directed by Jan Komasa - the way he depicts men, again, I had the impression he was gay.
They finished shooting on 23rd December 2018. Polish politician, Adamowicz, was assassinated on 13th January 2019.
Monday, 9 March 2020
ZIEJA (TRUTH MAKES FREE - ZIEJA)
Watchable. The movie is quite religious, the agent trying to extract the information from the priest is but a pretext. It features some smart sermons - shortened but used verbatim. However, Andrzej Seweryn as priest Zieja looks lecherous rather than holy. Funnily, the Vatican Museums paintings show muscled naked men. The extent of male nudity gives them a gay feeling. I'm quite certain that wasn't the director's intention. The lead character is righteous and sensible. The depicted conversations he held with Kuroń are authentic, e.g. "if you have God in yourself, you don't need religion". Talking to his imaginary friend, he's aware that you become "old when you realize you haven't always been right and you're not needed any more". He's said to have rescued 23 wounded in combat during the war, he told soldiers not to shoot in which he resembles the religious hero of "Hacksaw Ridge". Visually-wise, cigarette smoke shifts into a picture of World War 2 where the scene soon becomes clouded in the smoke from explosions. Torn body parts are depicted but it's all grey which spares you from the shock. Unfortunately, apart from the reminiscences, everything else is grey too which makes the movie lackluster. There's also no action or tension. The main message is: "God is one for everyone." Dull music from Fonoteka Sonoria doesn't help. The beginning and ending is a frame - the final knocking by an unknown person leaves a field for interpretation.
Director Robert Gliński thinks Andrzej Seweryn cast as Zieja looks just like the original. I've since looked up his pictures and dare to disagree. The director decided that since Zieja was a virtually saint hero, an anti-hero was needed. So he pitted the restrained "saint" versus such a "rozbuchany kartofel" ("frisky potato") as Zamachowski so that the interaction sparkles.
The script was 180 pages long so he had to decide which fragments to choose but also added extra scenes, ending up with 3 hours so then had to remove some material. The selection criterion was: what's contemporary stays.
The beginning and ending is a frame - the final knocking on the door by an unknown person meant to show how history repeats itself.
There had been documentaries about Zieja but no actors' movie before.
The priest spread pacifism. In effect one of the Warsaw Rising scout insurgents went for the Arsenal action without a pistol. Zieja was also a precursor of feminism - he wanted to introduce women into the parish council. KOR (the Workers' Defence Committee) had two opponents active within the organization: Michnik, Macierewicz. They argued a lot and it was Zieja who kept them in peace for 4 years.
On the balcony, Zieja talks to Kuroń whose identity is not explained in the movie. The conversations with Kuroń are authentic. The director has been to Kuroń's flat in Żoliborz.
The dog biting the SB (the Security Service) man was an authentic case.
Robert Gliński found it hard to implement the script due to resistance from Catholics in the film circles though the Church supported it. It was his colleagues who tried to block the movie.
WINTERLAND
Watchable. The snowboard documentary comprises of virtually the same views and rock music all the time. What drew my attention was frostbite on the sportspeople's faces as a downside to the hobby but, on the other hand, the 12 year old was superb and the dangerous falls from extremely steep slopes provided a bit of adrenaline for the viewer.
ROADLESS
Watchable. Another snowboard flick. I quickly spotted frostbite on their faces and hands again. This film offers more varied views and music. Talks also about getting pro.
365 DNI (365 DAYS)
Walked out. Neither the mafia opening, nor the subsequent corporate meeting are plausible. Wooden acting makes it even worse. In the first sex scene we see disgust on Massimo's face. Later, with the 'right girl', they both look at each other with hatred and disdain. Both leads act gangsters instead of lovers. And he treats her like a perv. It's basically a "Fifty Shades of Grey" chav way, especially in the protagonists' language. In the US, movie producers hire dialect coaches. In Poland, they didn't even check English grammar!
The script writer barely managed to get to the premiere of the movie, the producers didn't invite him. When he did see the film, he realised it wasn't what he had written. He could see low budget. He wrote the whole in Polish and someone else translated the dialogues into incorrect English.
Watchable. The movie is quite religious, the agent trying to extract the information from the priest is but a pretext. It features some smart sermons - shortened but used verbatim. However, Andrzej Seweryn as priest Zieja looks lecherous rather than holy. Funnily, the Vatican Museums paintings show muscled naked men. The extent of male nudity gives them a gay feeling. I'm quite certain that wasn't the director's intention. The lead character is righteous and sensible. The depicted conversations he held with Kuroń are authentic, e.g. "if you have God in yourself, you don't need religion". Talking to his imaginary friend, he's aware that you become "old when you realize you haven't always been right and you're not needed any more". He's said to have rescued 23 wounded in combat during the war, he told soldiers not to shoot in which he resembles the religious hero of "Hacksaw Ridge". Visually-wise, cigarette smoke shifts into a picture of World War 2 where the scene soon becomes clouded in the smoke from explosions. Torn body parts are depicted but it's all grey which spares you from the shock. Unfortunately, apart from the reminiscences, everything else is grey too which makes the movie lackluster. There's also no action or tension. The main message is: "God is one for everyone." Dull music from Fonoteka Sonoria doesn't help. The beginning and ending is a frame - the final knocking by an unknown person leaves a field for interpretation.
Director Robert Gliński thinks Andrzej Seweryn cast as Zieja looks just like the original. I've since looked up his pictures and dare to disagree. The director decided that since Zieja was a virtually saint hero, an anti-hero was needed. So he pitted the restrained "saint" versus such a "rozbuchany kartofel" ("frisky potato") as Zamachowski so that the interaction sparkles.
The script was 180 pages long so he had to decide which fragments to choose but also added extra scenes, ending up with 3 hours so then had to remove some material. The selection criterion was: what's contemporary stays.
The beginning and ending is a frame - the final knocking on the door by an unknown person meant to show how history repeats itself.
There had been documentaries about Zieja but no actors' movie before.
The priest spread pacifism. In effect one of the Warsaw Rising scout insurgents went for the Arsenal action without a pistol. Zieja was also a precursor of feminism - he wanted to introduce women into the parish council. KOR (the Workers' Defence Committee) had two opponents active within the organization: Michnik, Macierewicz. They argued a lot and it was Zieja who kept them in peace for 4 years.
On the balcony, Zieja talks to Kuroń whose identity is not explained in the movie. The conversations with Kuroń are authentic. The director has been to Kuroń's flat in Żoliborz.
The dog biting the SB (the Security Service) man was an authentic case.
Robert Gliński found it hard to implement the script due to resistance from Catholics in the film circles though the Church supported it. It was his colleagues who tried to block the movie.
WINTERLAND
Watchable. The snowboard documentary comprises of virtually the same views and rock music all the time. What drew my attention was frostbite on the sportspeople's faces as a downside to the hobby but, on the other hand, the 12 year old was superb and the dangerous falls from extremely steep slopes provided a bit of adrenaline for the viewer.
ROADLESS
Watchable. Another snowboard flick. I quickly spotted frostbite on their faces and hands again. This film offers more varied views and music. Talks also about getting pro.
365 DNI (365 DAYS)
Walked out. Neither the mafia opening, nor the subsequent corporate meeting are plausible. Wooden acting makes it even worse. In the first sex scene we see disgust on Massimo's face. Later, with the 'right girl', they both look at each other with hatred and disdain. Both leads act gangsters instead of lovers. And he treats her like a perv. It's basically a "Fifty Shades of Grey" chav way, especially in the protagonists' language. In the US, movie producers hire dialect coaches. In Poland, they didn't even check English grammar!
The script writer barely managed to get to the premiere of the movie, the producers didn't invite him. When he did see the film, he realised it wasn't what he had written. He could see low budget. He wrote the whole in Polish and someone else translated the dialogues into incorrect English.
Monday, 2 March 2020
ZENEK
Recommended. Little short of phenomenal. It's not a typical biography - Zenek's life's different than what we know from other musicians' biopics. The movie was "inspired by" Zenon Martyniuk's life and is not a documentary but a very honest biography where the director doesn't shy away from showing the future star step into actual shit in the street on his way to a gig. It depicts village life in Podlasie since but mostly in 1985 - both the rural region and the 80s are meticulously recreated not only in objects but also in behaviour. The social-cultural background is the highlight of this production - it clarifies who he is and explains the whole phenomenon around him. The social-cultural setting manifests itself also in the taste in clothes - chic disco polo way, including the singer's house decor, the choice of wife and her fashion style as well. Other than that, he first sang covers, including Limahl's, whose posters he had in his bedroom, like virtually every Polish teenager at the time. The whole film is fantastically acted, but especially by Jakub Zając, the talented young actor enacting the star's youth. The film's shot in an interesting form - with mock-documentary utterances of people from his circle which smoothly transport you to a different year. The finale's wonderful.
Recommended. Little short of phenomenal. It's not a typical biography - Zenek's life's different than what we know from other musicians' biopics. The movie was "inspired by" Zenon Martyniuk's life and is not a documentary but a very honest biography where the director doesn't shy away from showing the future star step into actual shit in the street on his way to a gig. It depicts village life in Podlasie since but mostly in 1985 - both the rural region and the 80s are meticulously recreated not only in objects but also in behaviour. The social-cultural background is the highlight of this production - it clarifies who he is and explains the whole phenomenon around him. The social-cultural setting manifests itself also in the taste in clothes - chic disco polo way, including the singer's house decor, the choice of wife and her fashion style as well. Other than that, he first sang covers, including Limahl's, whose posters he had in his bedroom, like virtually every Polish teenager at the time. The whole film is fantastically acted, but especially by Jakub Zając, the talented young actor enacting the star's youth. The film's shot in an interesting form - with mock-documentary utterances of people from his circle which smoothly transport you to a different year. The finale's wonderful.
Sunday, 1 March 2020
EMMA.
Recommended. A most delightful period piece: elaborate, embroidered and crocheted costumes, splendid hats, stunning hairstyles, impeccable set design - lavish, historic interiors, speckless outdoors and the combination of these elements, e.g. Emma standing in a white dress with embroidered flowering plants right under a lilac in blossom, are pure perfection. Directed by Autumn de Wilde - a photographer known for portraiture work. The adaptation of immortal Jane Austen's is all stately which doesn't hinder irony but also surprises with touching moments on occasions. Wonderfully acted, especially by Anna Taylor-Joy as Emma, Mia Goth as Harriet, Josh O'Connor as Elton. Can be seen either as a warning that even in a perfect world feelings can reduce you to tears or, better, as a happy-go-lucky tale about carefree lives. The music comprises of: traditional, Mozart, Haydn, some Beethoven.
The dialogues are so rich in advanced level personality adjectives I should use the film in class.
Recommended. A most delightful period piece: elaborate, embroidered and crocheted costumes, splendid hats, stunning hairstyles, impeccable set design - lavish, historic interiors, speckless outdoors and the combination of these elements, e.g. Emma standing in a white dress with embroidered flowering plants right under a lilac in blossom, are pure perfection. Directed by Autumn de Wilde - a photographer known for portraiture work. The adaptation of immortal Jane Austen's is all stately which doesn't hinder irony but also surprises with touching moments on occasions. Wonderfully acted, especially by Anna Taylor-Joy as Emma, Mia Goth as Harriet, Josh O'Connor as Elton. Can be seen either as a warning that even in a perfect world feelings can reduce you to tears or, better, as a happy-go-lucky tale about carefree lives. The music comprises of: traditional, Mozart, Haydn, some Beethoven.
The dialogues are so rich in advanced level personality adjectives I should use the film in class.
Sunday, 23 February 2020
南方车站的聚会 (THE WILD GOOSE LAKE)
Watchable. The wild goose has a different meaning in Chinese than in English. While the translated title carries a meaning seemingly fitting the crime story of a fugitive, the original connotations are different: a wild goose bears a message of love from afar if persons are separated by a great distance, or signifies a lone goose, bereft of both mate and flock. We find both in the picture. But the movie's far from romantic. Decrepit food outlets and hotels, derelict buildings, pervasive cigarette smoking. Modern edifices and skyscrapers on a huge poster contrast with the pair walking past. The film ticks off all the noir boxes: interesting light and shadow effects in the yellow-black night, pink or blue at times, rain, shabby places, gangsters and a prostitute muse, prolonged shots, violence and a romantic title. Visuals of interest include: neon shoe soles on dancers' feet, a boat in the mist, the prostitute's label hat sinking literally and symbolically, shadows behind yellow curtains during the day, close-ups on gripped body parts during a brawl, blood splashing on the inside of an umbrella. All these visual effects make you look at the evening city differently once you leave the cinema.
PETERSSON UND FINDUS - FINDUS ZIEHT UM (PETTSON AND FINDUS 3 - FINDUS MOVES OUT)
Recommended. Another production from the series where even the opening credits use jobs creatively, e.g. putting the costume designer's name on a piece of fabric etc. The plot is eventful and funny as usual, with hilarious situations like when Findus is catching a fish bigger than himself, when Petersson (Pettson) and Gustavsson are scrambling in the tent, when Gustavsson is reproaching Petersson (Pettson) for spoiling Findus - he's got a point, or when Gustavsson has got caught in the fox trap. And Findus is disarming with his 'own' ideas coming from ever-resourceful Petersson (Pettson). Yet all these amusing events are part of the tale of the cat growing up and demanding his own space the way older children do. Both the cat and the owner learn some lessons while keeping the viewers entertained. Delightfully acted, cutely animated, with songs nice even in the Polish dubbing. The tale is so engaging it's easy to forget all the children in the audience.
Watchable. The wild goose has a different meaning in Chinese than in English. While the translated title carries a meaning seemingly fitting the crime story of a fugitive, the original connotations are different: a wild goose bears a message of love from afar if persons are separated by a great distance, or signifies a lone goose, bereft of both mate and flock. We find both in the picture. But the movie's far from romantic. Decrepit food outlets and hotels, derelict buildings, pervasive cigarette smoking. Modern edifices and skyscrapers on a huge poster contrast with the pair walking past. The film ticks off all the noir boxes: interesting light and shadow effects in the yellow-black night, pink or blue at times, rain, shabby places, gangsters and a prostitute muse, prolonged shots, violence and a romantic title. Visuals of interest include: neon shoe soles on dancers' feet, a boat in the mist, the prostitute's label hat sinking literally and symbolically, shadows behind yellow curtains during the day, close-ups on gripped body parts during a brawl, blood splashing on the inside of an umbrella. All these visual effects make you look at the evening city differently once you leave the cinema.
PETERSSON UND FINDUS - FINDUS ZIEHT UM (PETTSON AND FINDUS 3 - FINDUS MOVES OUT)
Recommended. Another production from the series where even the opening credits use jobs creatively, e.g. putting the costume designer's name on a piece of fabric etc. The plot is eventful and funny as usual, with hilarious situations like when Findus is catching a fish bigger than himself, when Petersson (Pettson) and Gustavsson are scrambling in the tent, when Gustavsson is reproaching Petersson (Pettson) for spoiling Findus - he's got a point, or when Gustavsson has got caught in the fox trap. And Findus is disarming with his 'own' ideas coming from ever-resourceful Petersson (Pettson). Yet all these amusing events are part of the tale of the cat growing up and demanding his own space the way older children do. Both the cat and the owner learn some lessons while keeping the viewers entertained. Delightfully acted, cutely animated, with songs nice even in the Polish dubbing. The tale is so engaging it's easy to forget all the children in the audience.
Thursday, 20 February 2020
SMAK PHO (THE TASTE OF PHO)
Recommended. A subtle, heart-warming tale of a Polish-Vietnamese family and the complex situation of the Vietnamese and other foreigners working in Poland. The national identity manifested through lifestyle, food, demeanor as well as mixing cultures of the Polish hosts and immigrants from all of Asia form an intricate mosaic which is visible only to a watchful eye. Thang Long Do stands out as Long. The hardships of acculturation and intercultural homesickness permeate through him. Insightful, ordinary and multi-layered at the same time.
Recommended. A subtle, heart-warming tale of a Polish-Vietnamese family and the complex situation of the Vietnamese and other foreigners working in Poland. The national identity manifested through lifestyle, food, demeanor as well as mixing cultures of the Polish hosts and immigrants from all of Asia form an intricate mosaic which is visible only to a watchful eye. Thang Long Do stands out as Long. The hardships of acculturation and intercultural homesickness permeate through him. Insightful, ordinary and multi-layered at the same time.
Tuesday, 18 February 2020
FANTASY ISLAND
Recommended. Adventure and dark fantasy with a second bottom. Shot on Fiji which makes for the seemingly paradise island and just the right premise for adventures including a military action in Venezuela, a drug lord estate as well as an idyllic beach. A handful of good actors, no big shots, and a thoroughly engaging and mysterious story. Each person's fantasies differ, they sometimes match one another's, at other times collide and either leave the people unfulfilled when leaving a dream or turn out wrong which is a decent allegory of life, especially when you consider how we think we want something but then discover we wanted something hidden much deeper. The way the movie's made, it's all entertainment, with a number of twists and constant uncertainty: is it a game or for real? And who is played by who? The song heard over the end credits is aptly titled "Don't Wish Your Life Away". While I could find tropes from "Hostel 3", "Jumanji", "Flatliners", "eXistenZ", "Saw", I also quickly came to the conclusion the structure of "Fantasy Island" was in fact original. Well, it turns out it's based on Gene Levitt's TV series from the 1970s-80s which I have never watched but from what I'm reading now: The movie may be the first installment of a series since Mr. Tattoo is kind-of introduced at the end. He's short and Asian. Julia is the one who shouts "The plane! The plane" and she's Hispanic. Mr. Roarke wears a white suit and wants all his staff to smile. Another reference to the series is when the vengeful girl dubs him a "genie". Roarke makes it clear each fantasy has to be played out to its natural conclusion. The guests arrive having won a competition. Some are in another person's fantasy. One character is a private eye. Few supernatural elements appear in comparison to the series. Typical guests are said to want to enact sexual fantasies - the original idea the TV series stemmed from. TV used Kauai, Hawaii for the opening view of the coastline and shot the rest in California, not Fiji.
Recommended. Adventure and dark fantasy with a second bottom. Shot on Fiji which makes for the seemingly paradise island and just the right premise for adventures including a military action in Venezuela, a drug lord estate as well as an idyllic beach. A handful of good actors, no big shots, and a thoroughly engaging and mysterious story. Each person's fantasies differ, they sometimes match one another's, at other times collide and either leave the people unfulfilled when leaving a dream or turn out wrong which is a decent allegory of life, especially when you consider how we think we want something but then discover we wanted something hidden much deeper. The way the movie's made, it's all entertainment, with a number of twists and constant uncertainty: is it a game or for real? And who is played by who? The song heard over the end credits is aptly titled "Don't Wish Your Life Away". While I could find tropes from "Hostel 3", "Jumanji", "Flatliners", "eXistenZ", "Saw", I also quickly came to the conclusion the structure of "Fantasy Island" was in fact original. Well, it turns out it's based on Gene Levitt's TV series from the 1970s-80s which I have never watched but from what I'm reading now: The movie may be the first installment of a series since Mr. Tattoo is kind-of introduced at the end. He's short and Asian. Julia is the one who shouts "The plane! The plane" and she's Hispanic. Mr. Roarke wears a white suit and wants all his staff to smile. Another reference to the series is when the vengeful girl dubs him a "genie". Roarke makes it clear each fantasy has to be played out to its natural conclusion. The guests arrive having won a competition. Some are in another person's fantasy. One character is a private eye. Few supernatural elements appear in comparison to the series. Typical guests are said to want to enact sexual fantasies - the original idea the TV series stemmed from. TV used Kauai, Hawaii for the opening view of the coastline and shot the rest in California, not Fiji.
THE CALL OF THE WILD
Recommended. The opening credits are accompanied by the sound of chopping wood, announcing the biggest star - Harrison Ford as one of Buck's owners, but the first sequence of the movie comprises of hilarious exploits of the dog in a southern villa and garden. Buck is digitally antropomorphised Scooby-Doo way. Other dogs, wolves and caribous are clearly CGI-enhanced since they resemble "The Lion King". Scenes under the northern lights, the black wolf figure and a town venue called "The Argonaut" give the film mythical and fairy-tale-like characteristics. While I loved it as an adult, it appears suitable for children as well. It's almost a comedy, though the film keeps in tension and has a few deeply moving moments. The plot is presented mostly through the dog's eyes - not in the camerawork but in the storytelling. In the town, "Teeth pulling" is advertised. I laughed a lot and I cried on a few occasions too but the most moving situation ends with humour as well. Cara Gee, Omar Sy and Harrison Ford are excellent in their roles. Credible locations: British Columbia, Yukon and California do the magic too. And last but not least, I kept replaying the matching, gentle western music in my head after leaving the cinema.
HARLEY QUINN: BIRDS OF PREY
Recommended. I loved every bit of it. Is it even possible not to adore Harley Quinn? The soundtrack is perfect. Margot Robbie deserves an Oscar. Ewan McGregor gives a top performance as well. But the best are the set decor, all of Harley Quinn's look and the script, especially the main protagonist's narrative. It's punk, deranged and... fabulous. The reenactment of "Diamonds are a girl's best friend" Harley-style is fantastic. The post-credit is puzzling because you hear her say: "Did you know that Batman...?" and it gets cut-off.
Recommended. The opening credits are accompanied by the sound of chopping wood, announcing the biggest star - Harrison Ford as one of Buck's owners, but the first sequence of the movie comprises of hilarious exploits of the dog in a southern villa and garden. Buck is digitally antropomorphised Scooby-Doo way. Other dogs, wolves and caribous are clearly CGI-enhanced since they resemble "The Lion King". Scenes under the northern lights, the black wolf figure and a town venue called "The Argonaut" give the film mythical and fairy-tale-like characteristics. While I loved it as an adult, it appears suitable for children as well. It's almost a comedy, though the film keeps in tension and has a few deeply moving moments. The plot is presented mostly through the dog's eyes - not in the camerawork but in the storytelling. In the town, "Teeth pulling" is advertised. I laughed a lot and I cried on a few occasions too but the most moving situation ends with humour as well. Cara Gee, Omar Sy and Harrison Ford are excellent in their roles. Credible locations: British Columbia, Yukon and California do the magic too. And last but not least, I kept replaying the matching, gentle western music in my head after leaving the cinema.
HARLEY QUINN: BIRDS OF PREY
Recommended. I loved every bit of it. Is it even possible not to adore Harley Quinn? The soundtrack is perfect. Margot Robbie deserves an Oscar. Ewan McGregor gives a top performance as well. But the best are the set decor, all of Harley Quinn's look and the script, especially the main protagonist's narrative. It's punk, deranged and... fabulous. The reenactment of "Diamonds are a girl's best friend" Harley-style is fantastic. The post-credit is puzzling because you hear her say: "Did you know that Batman...?" and it gets cut-off.
Sunday, 16 February 2020
GRETEL AND HANSEL
Watchable. Gretel's potential employer turns out to be a sex pest, she runs from domestic violence, an emaciated zombie-like man attacks the siblings, both: Gretel and Hansel eat hallucinogenic mushrooms in the woods, Gretel has visions even without them, weird music, the witch wears a hat like in "Wicked" (the long-running theatrical performance in London), characters talk in a lofty tone as if expressing the philosophy of this sick vision. Isn't the original fairy-tale horrible enough? It sounds like a well-balance horror without these extra specials. On top of that, it's terribly politically correct: the only good person is black and the script is all feminism envisaged by men: the writers Oz Perkins and Rob Hayes since it emphasizes that Gretel "finds her own way". I practically watched to see how much more stupidity they'll come up with.
AMAZONIA
Recommended. Almost a documentary where the monkey's story only serves to show the lavishness of nature. Shot in a few eco parks and a monkey school, it depicts a pink dolphin, insects, sloths and lots of other wildlife, with a number of amazing close-ups - pure delight.
Traditional local music in the background. Why is this perfection targeted at children instead of nature-loving adults?
LA VERITE (THE TRUTH)
Walked out. Catherine Deneuve and Juliette Binoche know how to bring boredom to every movie. Films about shooting films never enthrall either. A grumpy actress and her bland family also failed to give me a reason to watch till the end. Ethan Hawke - here mocked as if he weren't a good actor - wasn't enough.
SIBYL
Watchable. Pretty-faced Virginie Efira attracts you first but when she appears naked a couple of times it's somewhat exhibitionist, especially that her body is neither slim nor fit. The story, swiftly cut, is engaging at first but about half-way into the plot, you realise that all the major characters take advantage of others: to write a book, to land a role in a movie, to get laid, to shoot a good picture and wear the lovers off each other which feels a bit on the mental side. And it's about shooting a film which never works in films. More and more nudity is thrown in to keep you watching when the story starts limping. Doesn't really work.
Watchable. Gretel's potential employer turns out to be a sex pest, she runs from domestic violence, an emaciated zombie-like man attacks the siblings, both: Gretel and Hansel eat hallucinogenic mushrooms in the woods, Gretel has visions even without them, weird music, the witch wears a hat like in "Wicked" (the long-running theatrical performance in London), characters talk in a lofty tone as if expressing the philosophy of this sick vision. Isn't the original fairy-tale horrible enough? It sounds like a well-balance horror without these extra specials. On top of that, it's terribly politically correct: the only good person is black and the script is all feminism envisaged by men: the writers Oz Perkins and Rob Hayes since it emphasizes that Gretel "finds her own way". I practically watched to see how much more stupidity they'll come up with.
AMAZONIA
Recommended. Almost a documentary where the monkey's story only serves to show the lavishness of nature. Shot in a few eco parks and a monkey school, it depicts a pink dolphin, insects, sloths and lots of other wildlife, with a number of amazing close-ups - pure delight.
Traditional local music in the background. Why is this perfection targeted at children instead of nature-loving adults?
LA VERITE (THE TRUTH)
Walked out. Catherine Deneuve and Juliette Binoche know how to bring boredom to every movie. Films about shooting films never enthrall either. A grumpy actress and her bland family also failed to give me a reason to watch till the end. Ethan Hawke - here mocked as if he weren't a good actor - wasn't enough.
SIBYL
Watchable. Pretty-faced Virginie Efira attracts you first but when she appears naked a couple of times it's somewhat exhibitionist, especially that her body is neither slim nor fit. The story, swiftly cut, is engaging at first but about half-way into the plot, you realise that all the major characters take advantage of others: to write a book, to land a role in a movie, to get laid, to shoot a good picture and wear the lovers off each other which feels a bit on the mental side. And it's about shooting a film which never works in films. More and more nudity is thrown in to keep you watching when the story starts limping. Doesn't really work.
Wednesday, 12 February 2020
UNDERWATER
Watchable. Starts with Kristen Stewart sporting a crew cut, she's working on a deep-water drilling platform. Looks like both former vampires have taken a similar career path - Robert Pattinson in the outer space. Anyway, the whole film is an "Alien" wash-off - literally, because the monsters - a cross between the Geiger's alien and an octopus - are in the ocean, half-way down the Mariana Trench. The plot is rubbish, with the first explosion a few minutes in, but with good music. The lines are tacky, the level as low as the trench. About the only one I fancied was when you hear an advertisement: "We've got big things in store to come" and see a huge monster out the porthole. As for the horror part, there's one bigger and one smaller jump scare and the ending threatens you with a possible sequel.
RACETIME
Watchable. In Poland, it's all dubbed in Polish, including songs, so you won't hear Lara Fabian, Cool Kids, Joshua Moreno, Simple Plan, Cyndi Lauper etc. Nevertheless, I enjoyed the rhythms. The storyline is simple and clear, far from the craziness the trailer implies. Joyful, light entertainment.
Watchable. Starts with Kristen Stewart sporting a crew cut, she's working on a deep-water drilling platform. Looks like both former vampires have taken a similar career path - Robert Pattinson in the outer space. Anyway, the whole film is an "Alien" wash-off - literally, because the monsters - a cross between the Geiger's alien and an octopus - are in the ocean, half-way down the Mariana Trench. The plot is rubbish, with the first explosion a few minutes in, but with good music. The lines are tacky, the level as low as the trench. About the only one I fancied was when you hear an advertisement: "We've got big things in store to come" and see a huge monster out the porthole. As for the horror part, there's one bigger and one smaller jump scare and the ending threatens you with a possible sequel.
RACETIME
Watchable. In Poland, it's all dubbed in Polish, including songs, so you won't hear Lara Fabian, Cool Kids, Joshua Moreno, Simple Plan, Cyndi Lauper etc. Nevertheless, I enjoyed the rhythms. The storyline is simple and clear, far from the craziness the trailer implies. Joyful, light entertainment.
Tuesday, 11 February 2020
2020 OSCAR NOMINATED SHORT FILMS - ANIMATION
Only the first 5 were actual nominees, the next 4 were "highly commended".
HAIR LOVE
Recommended. Lovely, the cat making faces is the best, the story of family love when one member is seriously ill is touching. Two animation styles: different for the foreground and for the background.
DCERA (DAUGHTER)
Watchable. Fascinating animation-wise: dolls with faces made of wrinkled paper, wearing clothes sewn from scraps, all places are made of miniature models. But there are no words in the story and I couldn't work out what it was about. Something depressing for sure.
SISTER
Recommended. The woolly dolls look pretty ordinary but the story of a life that never came into being moved me deeply. It's emotional and political - about the Chinese one child policy. Powerful, I rooted for it in the Oscar race.
MEMORABLE
Recommended. Clay dolls covered with impastos. The man's face resembles Vincent van Gogh's which explains the technique. But the highlight is towards the end when the man's wife becomes transparent - you only see some strokes of colourful paint on the outline of her silhouette. The story's touching because it deals with losing memory and vividly shows what it's like to be unable even to recognize yourself in the mirror.
KITBULL
Watchable. Nothing new animation-wise. The animals demonstrate how humans treat them and how affectionate dogs and cats can be.
HENRIETTA BULKOWSKI
Recommended. The tale of the constructor is engaging, there's actual action and touching moments too.
THE BIRD AND THE WHALE
Watchable. The story's depressing, colours grim, only the orangish hues of the sky are attractive.
HORS PISTE
Recommended. The tale is ironic, comical even, without words but perfectly comprehensible. Nothing new in terms of animation but fun to follow the story of two rescuers and one wounded person whose stretches are used as a bridge over a ravine and who experiences many more adventures with or without the rescue team.
MAESTRO
Recommended. The best of the nine shorts. Live animals animated into concert-like behaviour. With a classical soundtrack. A masterpiece.
GORDON & PADDY
Recommended. Animation in pleasant, warm colours, even at night the shades of gray are warm. The animals are lovely, have big, cuddly bodies and cute, thin legs. The story's simple, perfect for young children and filled with the love of family and people - in the shape of animals - in general. I hope for a sequel. In Polish cinemas, it's available dubbed in Polish only. There's an early mid-credit.
The only downside, apart from dubbing, to watching it at the cinema is that you may end up surrounded by many noisy children like I was.
Only the first 5 were actual nominees, the next 4 were "highly commended".
HAIR LOVE
Recommended. Lovely, the cat making faces is the best, the story of family love when one member is seriously ill is touching. Two animation styles: different for the foreground and for the background.
DCERA (DAUGHTER)
Watchable. Fascinating animation-wise: dolls with faces made of wrinkled paper, wearing clothes sewn from scraps, all places are made of miniature models. But there are no words in the story and I couldn't work out what it was about. Something depressing for sure.
SISTER
Recommended. The woolly dolls look pretty ordinary but the story of a life that never came into being moved me deeply. It's emotional and political - about the Chinese one child policy. Powerful, I rooted for it in the Oscar race.
MEMORABLE
Recommended. Clay dolls covered with impastos. The man's face resembles Vincent van Gogh's which explains the technique. But the highlight is towards the end when the man's wife becomes transparent - you only see some strokes of colourful paint on the outline of her silhouette. The story's touching because it deals with losing memory and vividly shows what it's like to be unable even to recognize yourself in the mirror.
KITBULL
Watchable. Nothing new animation-wise. The animals demonstrate how humans treat them and how affectionate dogs and cats can be.
HENRIETTA BULKOWSKI
Recommended. The tale of the constructor is engaging, there's actual action and touching moments too.
THE BIRD AND THE WHALE
Watchable. The story's depressing, colours grim, only the orangish hues of the sky are attractive.
HORS PISTE
Recommended. The tale is ironic, comical even, without words but perfectly comprehensible. Nothing new in terms of animation but fun to follow the story of two rescuers and one wounded person whose stretches are used as a bridge over a ravine and who experiences many more adventures with or without the rescue team.
MAESTRO
Recommended. The best of the nine shorts. Live animals animated into concert-like behaviour. With a classical soundtrack. A masterpiece.
GORDON & PADDY
Recommended. Animation in pleasant, warm colours, even at night the shades of gray are warm. The animals are lovely, have big, cuddly bodies and cute, thin legs. The story's simple, perfect for young children and filled with the love of family and people - in the shape of animals - in general. I hope for a sequel. In Polish cinemas, it's available dubbed in Polish only. There's an early mid-credit.
The only downside, apart from dubbing, to watching it at the cinema is that you may end up surrounded by many noisy children like I was.
Sunday, 9 February 2020
THE 2020 OSCARS GALA
This year https://www.brettygood.com is working from the opening song and dance performance, which in the lyrics, music and attires recollects this year's movies, nominated and not. So are the white and black non-hosts of the commencement.
I loved the joke about the progress in nominating blacks - we've got 1 black nominee this year. And Steve Martin and Chris Rock have an "amazing time no-hosting". And they loved "the first season" of "The Irishman" - not surprising a joke since binge-watching of a series lasts sometimes as long as the Scorsese's movie alone.
Brad Pitt wins Supporting - not bad, my second fave.
I had a feeling right before announcing that "Toy Story 4" would get Best Animated Feature, 'cause it's time after so many movies in the series. And it's Pixar again, obviously. The same with "Hair Love" - Pixar too. This happens when mostly Disney votes.
I'd prefer just the original version of "Into the Unknown" - I hate dubbing, especially in songs.
"기생충" ("Parasite") wins Original Screenplay - it's OK, in this category I mean. And Taika Waititi too - Adapted - what for?! The story's rubbish!
Live Action Short - "The Neighbors' Window" - I'll have to see it.
At least Production Design for "Once upon a Time... in Hollywood" like I wanted.
The song announcing Costume Design is a brilliant compilation of lyrics relating to outfits. "Little Women" as I hoped.
Documentary Feature - sadly "American Factory", OK, I admit I haven't seen it but still, it seems just so biased towards America. Short "Learning to Skate in a Warzone (if you're a Girl)" - another one for me yet to see.
Supporting Actress - Margot Robbie touched me in the movie fragments but Laura Dern wins, overall probably a little bit better.
What a wonderful compilation of songs together with the movie scenes, goes back to the 1980s and includes my all time favourite "Back to the Future".
Sound Editing for "Ford v Ferrari" - great! Sound Mixing for "1917" unfortunately though.
An actress: "Not only is it the cinematographer who prepares meals for the crew but also the cinematographer and cinematographer only knocks on the trailer door and tells us it's time to go out and create magic." "1917" wins, unfortunately. Editors cut her out of "1917" and "Parasite" that "was originally in". "Ford v Ferrari" wins - fantastic!
Why do they even remind us of those revolting "Cats" with the presenters' costumes?! Anyway, "1917" wins - for a movie looking like a computer game?!
A middle-aged actress states she's 87 so can't overestimate makeup and hairstyling. Surprisingly, "Bombshell" wins.
In the meantime, I'm impressed most of the commercials in the intermissions on ABC are movie-based.
International Picture unsurprisingly "Parasite", I preferred one of other two but it's not the worst win either. I even feel moved seeing the crew stand up to an applause from all sides.
I like teasing journalists with the remark that the fight club loser will answer the question of how it is to be a woman in Hollywood.
"Joker" has the best Original Score - I'm elated. The female composer won even though a female director poorly rendered her music just before.
Sadly, Song goes to Elton John for "(I'm Gonna) Love Me Again" instead of my fave "Into the Unknown".
Directing - "Parasite" again. Well, could be worse. OK, I truly enjoyed the movie, just preferred other ones to win Oscars. Funnily, Bong Joon-ho had already been preparing to rest. He himself finds Scorsese the best. He also thanked Quentin Tarantino for popularising his movies. He's split his Oscar with "the Texas chainsaw" and share it with others.
This year's tribute to the deceased included Rutger Hauer who left an indelible mark on me drawing me to movies but they missed Stan Lee - not too much of a film person for them?
Olivia Coleman: "Last year was the best night of my husband's life".
Actor in a Leading Role - Joaquin Phoenix for "Joker" - I rooted for someone else but Joaquin Phoenix was amazing too. And what an astonishing vegan speech. He also mentioned his late brother.
Janelle Monáe in the audience in a dress sparkling in colours like gemstones, earlier Hildur Guðnadóttir had a similar top in hers, but more elaborate.
Actress - all nominations for strong-headed characters, apart from "Judy", fighting for their rights - Renée Zellweger wins as I hoped and expected. In her speech, you can hear her own voice is much different from the character's she impersonated. She's wearing an amazing dress looking like ice on an ice-skating rink.
Picture - "Parasite" - hard to believe Koreans win. Hahaha.
3,5 hours in total like last year, from 2 to 5:30 a.m. Polish time.
This year https://www.brettygood.com is working from the opening song and dance performance, which in the lyrics, music and attires recollects this year's movies, nominated and not. So are the white and black non-hosts of the commencement.
I loved the joke about the progress in nominating blacks - we've got 1 black nominee this year. And Steve Martin and Chris Rock have an "amazing time no-hosting". And they loved "the first season" of "The Irishman" - not surprising a joke since binge-watching of a series lasts sometimes as long as the Scorsese's movie alone.
Brad Pitt wins Supporting - not bad, my second fave.
I had a feeling right before announcing that "Toy Story 4" would get Best Animated Feature, 'cause it's time after so many movies in the series. And it's Pixar again, obviously. The same with "Hair Love" - Pixar too. This happens when mostly Disney votes.
I'd prefer just the original version of "Into the Unknown" - I hate dubbing, especially in songs.
"기생충" ("Parasite") wins Original Screenplay - it's OK, in this category I mean. And Taika Waititi too - Adapted - what for?! The story's rubbish!
Live Action Short - "The Neighbors' Window" - I'll have to see it.
At least Production Design for "Once upon a Time... in Hollywood" like I wanted.
The song announcing Costume Design is a brilliant compilation of lyrics relating to outfits. "Little Women" as I hoped.
Documentary Feature - sadly "American Factory", OK, I admit I haven't seen it but still, it seems just so biased towards America. Short "Learning to Skate in a Warzone (if you're a Girl)" - another one for me yet to see.
Supporting Actress - Margot Robbie touched me in the movie fragments but Laura Dern wins, overall probably a little bit better.
What a wonderful compilation of songs together with the movie scenes, goes back to the 1980s and includes my all time favourite "Back to the Future".
Sound Editing for "Ford v Ferrari" - great! Sound Mixing for "1917" unfortunately though.
An actress: "Not only is it the cinematographer who prepares meals for the crew but also the cinematographer and cinematographer only knocks on the trailer door and tells us it's time to go out and create magic." "1917" wins, unfortunately. Editors cut her out of "1917" and "Parasite" that "was originally in". "Ford v Ferrari" wins - fantastic!
Why do they even remind us of those revolting "Cats" with the presenters' costumes?! Anyway, "1917" wins - for a movie looking like a computer game?!
A middle-aged actress states she's 87 so can't overestimate makeup and hairstyling. Surprisingly, "Bombshell" wins.
In the meantime, I'm impressed most of the commercials in the intermissions on ABC are movie-based.
International Picture unsurprisingly "Parasite", I preferred one of other two but it's not the worst win either. I even feel moved seeing the crew stand up to an applause from all sides.
I like teasing journalists with the remark that the fight club loser will answer the question of how it is to be a woman in Hollywood.
"Joker" has the best Original Score - I'm elated. The female composer won even though a female director poorly rendered her music just before.
Sadly, Song goes to Elton John for "(I'm Gonna) Love Me Again" instead of my fave "Into the Unknown".
Directing - "Parasite" again. Well, could be worse. OK, I truly enjoyed the movie, just preferred other ones to win Oscars. Funnily, Bong Joon-ho had already been preparing to rest. He himself finds Scorsese the best. He also thanked Quentin Tarantino for popularising his movies. He's split his Oscar with "the Texas chainsaw" and share it with others.
This year's tribute to the deceased included Rutger Hauer who left an indelible mark on me drawing me to movies but they missed Stan Lee - not too much of a film person for them?
Olivia Coleman: "Last year was the best night of my husband's life".
Actor in a Leading Role - Joaquin Phoenix for "Joker" - I rooted for someone else but Joaquin Phoenix was amazing too. And what an astonishing vegan speech. He also mentioned his late brother.
Janelle Monáe in the audience in a dress sparkling in colours like gemstones, earlier Hildur Guðnadóttir had a similar top in hers, but more elaborate.
Actress - all nominations for strong-headed characters, apart from "Judy", fighting for their rights - Renée Zellweger wins as I hoped and expected. In her speech, you can hear her own voice is much different from the character's she impersonated. She's wearing an amazing dress looking like ice on an ice-skating rink.
Picture - "Parasite" - hard to believe Koreans win. Hahaha.
3,5 hours in total like last year, from 2 to 5:30 a.m. Polish time.
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