I've Just Seen: The Martian (2015)

The Martian (2015)



Director: Ridley Scott

I hadn't been to the cinema for a few months and was feeling the urge to see something on a big screen. The Martian had been on my radar, but I had not seriously considered it; unfortunately Ridley Scott's recent works have been disappointing. However, the positive reviews changed my mind, so rather than waiting to watch it sometime next year on my television, I went to see this in all its non-Vmax, non-3D glory.

I am glad I did. The Martian, like so many science fiction films, looks fantastic on the big screen. Mars, with its rich orange-red colour, was a great co-star with Matt Damon, whose Mark Watney was far less annoying to spend time with. The script was well paced, though I would have liked more time with the Ares crew (particularly as I am on a Chastain-a-thon at the moment). The special effects are wonderfully woven into the film; it supports the story rather than drawing attention to itself.

There is little room for existential crisis in this film; there is little doubt that NASA will not try to do as much as possible to bring Watney home, and the boppy disco soundtrack makes one too happy to think about how close one is to death. Science itself is an important part of the film, and proved less 'wha?' inducing than that featured in Interstellar.

I left the cinema feeling thoroughly entertained, which is what I expected to be. I also stayed to the end of the credits, and from them learnt that only did the film apparently create 15, 000 jobs, but a large portion of those were for Hungarian people; much of principle photography took place in Hungary as it has one of the largest sound stages in the world. Moral of the story: stay for the credits, you'll never know what you will learn. 

I've Just Seen: Camera Buff (1979)

Camera Buff (Amator) (1979)



Director: Krzysztof Kieslowski

Kieslowski's command of imagery bespeaks a deep love for the medium of film. One could imagine that this love vies with other loves in his life (as well as being a platform for him to explore them). Filip, the protagonist of Camera Buff, develops an obsession with making films. I couldn't help wonder if this was slightly auto-biographical, that Kieslowski was tapping into a part of himself that he is aware about.

Set in during Poland's Communist era, there are also ideas of censorship and self-expression in this film; about what one should and should not show, particularly making documentaries. Politics plays a huge part in the story, particularly its effect on personal relationships and personal integrity. Filip finds his attempts at telling the truth with his film curtailed, and the personal use - recording his newborn daughter - disregarded.

The cinematography paints 70s Poland as a drab place to live, with washed out colours and flat lighting. This is striking when one considers the significance of colour in Kieslowski's later films.  The performances are all good, Jerzy Stuhr particularly so as Filip. If you enjoy stories about filmmaking and the challenges faced in maintaining control over your vision, you will find Camera Buff a clever exploration of these ideas. It also offer an opportunity to see where the director of such beautiful films like The Double Life of Veronique and the Trois Coleurs trilogy started.

I've Just Seen: Zero Dark Thirty (2012)

Zero Dark Thirty (2012)



Director: Kathryn Bigelow

I have found myself on a bit of a Jessica Chastain marathon of late; entirely unintentional but it is proving to be a treat. I've watched her in Take Shelter, this film, The Martian, Interstellar and Crimson Peak. Of them all, Zero Dark Thirty provides her with the most screen time, as it follows her character Maya's pursuit of Osama Bin Laden (or UBL as he is referred to in the film).

Chastain's performance is central to the film, and she is phenomenal. Her character has no other purpose in life than eliminating UBL; the few people she shares any moments of friendship with end up leaving or dead. The supporting cast are very good, particularly Jennifer Ehle as Maya's friend Jessica, and Jason Clarke.

The interplay of fact and fiction is woven together to create a story that places you in the emotions of those working to find UBL. I am less concerned with historical fact than if the story works, and its does here. I believed in the intensity of Maya's focus, and the pain and setbacks she experiences. Bigelow's direction is suited to the material; she has stepped back slightly to allow us to observe these people work. We a left to wonder about the choices they make; the infamous torture scenes a presented with little comment, and we are left to judge what they did.

A very solid film that takes us into the world of intelligence gathering, and presents us with the drive required in order to be successful, as well as the personal and emotional cost of such a journey. 

I've Just Seen: Center Stage (2000)

Center Stage (2000)



Director: Nicholas Hynter

I had not meant to watch Center Stage; it just happened to be on TV, and before I knew it I had watched half of it. I love dancing: practicing, performing and watching it. I have a soft spot for dance films, which means that if the dancing sequences are good (and lengthy) I will overlook a movie's shallow acting and weak plot. Center Stage has both of the latter, but also has a lot of dance sequences that are great.

There is not much else to say about the film. If you like dancing in general, you will find something to enjoy. If not, there are other dance films that are more engaging; The Red Shoes, which is referenced in this film, is probably the best, followed by those of Bob Fosse, particularly All That Jazz. 

I've Just Seen: The Big Lebowski (1998)

The Big Lebowski (1998)



Director: Joel Coen

I wouldn't say that I am a dyed-in-the-wool Coen Brothers fan, but I have enjoyed many of their films. They clearly love cinema, a circumstance that enhances their films for people who have a similar love. The Big Lebowski, both in its title and convoluted plot, references the film noirs of the 40s, though aesthetically couldn't be much further from them.

The Coens are strong on character; 'The Dude' is a great creation, smarter than he looks (and much smarter than his friends), caring for his friends, but mostly looking out for himself. John Goodman's Walter Sobchak almost stole the film for me, with his hilarious tirades about his war experiences and his Jewishness.

As I said, the plot is deliberately incomprehensible, in a similar fashion to Hawks' The Big Sleep. Much like 'The Dude' we don't know why things happen, or who is responsible; we just roll with it. The script is very clever, with so many quotable lines (my favourite was "It really tied the room together." Like 'The Dude,' I love a good rug).

While I am not have loved this as many do, it is very funny and clever; I can imagine it being even funnier on repeat viewing as more of the speeches sink into my brain.

I've Just Seen: Dracula (1931)

Dracula (1931)



Director: Tod Browning

I had attempted to watch this film many months ago; unfortunately, the copy from my local library was severely scratched, and stopped dead three-quarters through. Since then I have seen two versions of Nosferatu, so this time was consciously comparing the three films to each other. Clearly the figure of Dracula looms large over cinema history, and for a character whose main motivation is 'I want to suck your blood,' he has been portrayed in many different ways.

Bela Lugosi's portrayal is famous for its theatricality. Unlike the melancholy of Kinski's Nosferatu, or Schreck's gleeful portrayal, Lugosi is aristocratic but clearly menacing, wearing a dinner jacket as he goes about his business. The close-ups on his face, with their strategic lighting, can only be described as entertainingly camp. It is understandably iconic.

The other star of the film is the production design. Dracula's castle is wonderfully gothic, its huge spider's webs dwarf Renfeld, making him the fly caught by Dracula. The catacombs of Carfax Abbey are also great, highly suitable for Dracula's needs.

The problem with the film is the direction from Tod Browning. He has the camera look away several times, drawing attention to the action he deliberately avoids: Dracula emerging from his coffin. Why, I don't know. Perhaps Browning couldn't think of a way of doing it without it looking humorous. Or he wasn't very imaginative. The ending is another problem: we are denied Dracula's death on screen, leaving us feeling unsatisfied.

See the film to see Bela Lugosi's performance and the production design, two factors that have continued to influence vampire films throughout film history.

I've Just Seen: Tabu (2012)

Tabu (2012)



Director: Miguel Gomes

I generally enjoy films that break with film conventions. Gomes' Tabu does this primarily through sound, and also plays with structure. The film has three parts: a prologue, Part One titled 'Paradise Lost,' and Part Two: 'Paradise.' The prologue is a slightly mythic story of lost love, giving us a thematic setting for the rest of the film. The voice-over narration is also introduced here.

The film is non-linear, as 'Paradise Lost' introduces older characters whose histories are revealed in 'Paradise.' 'Paradise' is recounted as a story, almost entirely narrated; the only change is the letters that the lovers send to each other. The whole film is in B&W, which along with the lack of dialogue recalls films from the silent era. The film, particularly 'Paradise,' set in Africa, feels like one is looking at a collection of someone's old photographs, or home movies. There are some interesting images, especially those involving a crocodile.

I don't know exactly how I feel about this. I got rave reviews by several critics, including Australia's own Margaret and David, which is why I watched it. I feel as though I missed something. All the elements didn't quite work together; the lack of closure for the plot involving Pilar (raised in 'Paradise Lost,' then never returned to again) left me confused. The fate of the lovers didn't grab me as strongly as it should have, which meant I wasn't as struck by the tragedy of it all. Tabu is a film I will probably re-watch at some point, in order to clarify what I think of it.