I've Just Seen: Manhattan (1979)

Manhattan (1979)



Director: Woody Allen

I had seen Manhattan several years ago, before I started to want more than entertainment from films. I had liked it, but much preferred Annie Hall. Having re-watched it, now older, wiser and generally more snobbish in my film tastes, this is now a close second for my favourite Woody Allen film.

From the opening sequence, one of the best in film history, to the melancholic but perfect ending, this film is a joy. Funny, romantic and painful, often all at once, it has some of the best acting in any Allen film. When I first watched it, I didn't really like Mariel Hemingway's Tracy (why I don't know). This time around, I see she is the most mature of all the characters, despite her relative youth. Her quiet pain when Isaac breaks up with her is the most moving moment in the film. Diane Keaton's Mary matches Allen's Isaac in the neurotic stakes, her disparaging comments about almost everything Isaac likes are hilarious.

The film looks beautiful, with its black-and-white cinemtography. Frankly, more romantic comedies (or just films) should be in BW. Here it shows off New York at its most beautiful, particularly in the opening sequence; it is the great love of Isaac's life. The music adds to the romance of the film; Gershwin knew how to elite emotions, and the swells of Rhapsody in Blue set the tone early on. Both these elements give an old Hollywood feel to what is a New Hollywood film.

After the recent disappointment of Magic in the Moonlight, it was a joy to revisit Allen at his heights. When he is off, he is average; when great, one of the best filmmakers in film history. Not bad for someone who delights in the much maligned romantic comedy genre!

I've Just Seen: Take Shelter (2011)

Take Shelter (2011)


Director: Jeff Nichols

While this is classified as a drama thriller (according to Wikipedia), there are several elements that refer to the horror genre. The film's central character, Michael Shannon's Curtis, has dreams that provoke fear in him; fear of nature (particularly storms) and the people around him. The line between reality and dreams becomes blurred, implying a prophetic element to his visions. As he fears the change being threatened by these dreams, his family and friends see Curtis changing as well; this provokes fear in them.

Shannon is great as Curtis, who is trying hard to make of what he experiences, and protect his family. His fears revolve around his deaf daughter, implying a masculine fear of being unable to protect your vulnerable family. Jessica Chastain is equally great as Curtis' wife Samantha, who is working to keep their family together. There are overtones of the Biblical Noah story, with Curtis delivering a speech that warns of a storm coming that no one is ready for.

The quiet way the story unfolds actually heightens Curtis' anxiety. I moved between sympathising with Curtis' perspective to sharing Samantha's worries about her husband. The only part of the film that didn't quite work for was the ending; though unhelpfully, I cannot think of another way it could have ended. The story is well paced, focusing on character and mood, rather than shocks. Though the budget was low, the cinematography is very good; the dream scenes are suitably unsettling. This is well worth your time, particularly if you are looking for a different type of scare this Halloween.

I've Just Seen: Under the Skin (2013)

Under the Skin (2013)




Director: Jonathan Glazer

After I finished watching Under the Skin several thoughts were floating around in my mind; one of them was that there was no one from my family, friends or acquaintances that I would think of recommending this to. Not because I hated this; far from it. Rather, it is such a strange, utterly unmainstream film that I don't know anyone who wouldn't watch this, and then think 'what the *expletive* was that, and why did you make me watch it?' So, other than getting new friends, I am going to share my thoughts with you.

I would not say I enjoyed this film, for the film doesn't set out to be enjoyable or entertaining. But I was deeply effected by it; it made (and continues to make) me think, and to marvel. I haven't had this type of reaction to a film since I saw 2001. I did not feel empathy for the characters, but I was intrigued and beguiled by what I saw. And, just like 2001, I was left to figure things out for myself, to bring my own ideas to what was presented.

What did I see? I could write pages and pages about this film (but I won't). The images of human bodies are haunting. They are not erotic, though naked, but are presented as strange objects to live in. Scarlett Johansson's performance is powerful for its blankness; the fall of her face as she moves from engaging with people to watching them is compelling. The music adds much to the atmosphere, its strings straining and the drum beats recalling heart beats, or a ticking clock. The use of costume and location is masterful, portraying the evolution of Johansson's character.

The film is not perfect, but the problems didn't niggle at me. For others, however, I can imagine they would. Indeed, as I said at the start of this piece, this is not a film for everyone. My reaction is on the highly positive end, yet I can completely understand someone watching it and hating it with a passion. Watch it, knowing that you will have a strong reaction to Glazer's film.

(On a sidenote, if you want a truly mind-bending experience, watch this in double bill with Shane Carruth's Upstream Color. Would make Inception seem positively comprehensible). 

I've Just Seen: Eat Drink Man Woman (1994)

Eat Drink Man Woman (1994)




Director: Ang Lee

Ang Lee, in some respects, remind me of Billy Wilder; he has made a variety of films in his career, but each shows his ability to direct actors. In Eat Drink Man Woman, a family drama/ comedy, this is clear, and is also why his more visual films like Crouching Tiger, Hidden Dragon and Life of Pi struck such a chord; the characters have depth and insight.

The central relationship in Eat Drink is between Mr Chu and his middle child Jia-Chien, who are similar in several ways, yet are distant with each other. Around this are the romantic relationships of Chu's other two daughters, and their neigbours, a single mother and her child. As with many of these types of films there are secrets and tensions that are revealed at several dinners the family shares throughout the film.

I enjoyed this; it is warm and often funny, providing an insight into modern Taiwanese society, while also achieving a universality in its focus on love and family. Don't watch it on an empty stomach. 

I've Just Seen: Lara Croft: Tomb Raider (2001)

Lara Croft: Tomb Raider (2001)


Director: Simon West

This wasn't really my choice; my sister had asked me to record it, and when time came for her to watch it, ended up joining her. I think she was more entertained by my reaction to the film than the film itself. It has been a while since I have seen a Hollywood popcorn blockbuster, particularly one this old (14 years is old in terms of technology).

One of the few positive things I will say about the film is the commitment of Jolie's performance. Sure it verges on the edge of cartoon, but Jolie does it well, and holds her own in the action sequences. It also uses many in-camera effects; I can imagine today there would be a lot more CGI.

Apart from that, this is a mess. The plot is at a 'aye, what?' level of confusing; I cannot tell you what it was about other than something about Croft's father. It is clearly going for a similar style to Indiana Jones, but fails to be that entertaining. It dated, and is not that beautiful to look at; the production design should have been more engaging.

On a slightly different note, while Jolie is the toughest character in the film, she barely interacts with another woman; nor are there any other women as characters. I know that the target audience for the film would have been teenage boys, but it is still a problem. I don't think the filmmakers were going for a its-hard-to-be-a-woman-in-a-man's-world plot, so why not at least have some women in the crowd sequences and as part of the group excavating for Ian Glen.

Not good, with very little to recommend it.

I've Just Seen: Much Ado About Nothing (2012)

Much Ado About Nothing (2012)


Director: Joss Whedon

I have always enjoyed Shakespeare, and have even enjoyed the odd film adaptation of his plays. While many don't rate his comedies as highly as his more serious fare, I really like both A Midsummer Night's Dream and Much Ado About Nothing, and would probably say they are two of my favourites (behind Macbeth). Much Ado feels like a forerunner for many of my favourite films: the witty banter between Benedick and Beatrice is echoed in It Happened One Night, Nick and Nora in The Thin Man series, Sally and Harry in When Harry Met Sally; really, any romantic comedy couple.

This is a smart and stylish adaptation. Oddly, it is similar in many ways to Susanne Bier's Love is All You Need, as it involves a group of people staying at a villa/ mansion who are dealing with small personal crises that shuffle around the guests. Amy Acker and Alexis Denisof are very good as Beatrice and Benedick, clearly on top of the language. Indeed, everyone wears their characters well. The black-and-white cinematography is lovely; it not only evokes films like The Philadelphia Story, but also allows for a greater suspension of disbelief. We are not in the 'real' world, but a fictional film world.

I really enjoyed this, and now have a great desire to visit the play again.

I've Just Seen: Love is All You Need (2012)

Love is All You Need (Den skaldede frisor) (2012)


Director: Susanne Bier

I really enjoyed Bier's After the Wedding so looked out for this film. The two are similar, dealing with the messiness of families as they meet for a wedding. Unlike After the Wedding, which was a Danish film in Danish, Love is All You Need has a mixture of English and Danish; Pierce Brosnan's Philip lives and works in Denmark, but still speaks English, while the other characters move between the two languages. 

Trine Dyrholm is the film's heart; she is dealing with revelations of a cheating husband, the end of her cancer treatment, and listening to the doubts of her daughter (the bride to be). Her Idassa is warm and dignified in the face of her situation, and her performance carries everyone else. There are several plots going on at the same time that didn't all quite work for me. Everyone at the wedding is facing some personal crisis that creates tension, but also threatens to confuse the plot. Thankfully, the film mostly holds together. I quite enjoyed it, and would recommend it if you want a romantic drama/ comedy that doesn't conform to the Hollywood standard.