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carlacryptic
Reviews
Heights (2005)
Fascinating to watch and satisfying to experience
What I like about this film is that it moves like a panther. I feel like I'm outside of it but close enough to smell it. There is lots of intimacy and wonderful performances by everyone, some of which weren't fully comprehensible until the end. Glenn Close is an amazing person to watch doing anything and it was a double treat to see her, in dark hair no less (which I loved), playing an actress going in and out of character all of the time. Elizabeth Banks grew on me - at first, I just wished it were Parker Posey (whom she reminded me of at first). But, as the film developed and I could get over that resemblance, I enjoyed her performance. Jesse Bradford, who has been showing up in a lot of interesting roles the past few years, was notable as always. I liked George Segal as the rabbi without a clue until his being exactly where and what he needed to be when it really counted. Another thing about the film overall which I really liked was that the gay, straight, and everyone in between characters were all so much more real than they usually are in film. They were all over the map and that's where we all are in real life so it was a pleasure to see that. There were nuances on top of nuances and that, too, is what most of us experience but rarely see on film. James Marsden was great as Jonathan from the beginning to the end. I really liked Rufus Wainwright's character Jeremy... reminded me of a good friend of mine. There are too many good moments in the film to list them all.
Riri Shushu no subete (2001)
Brilliant and disturbing, gorgeous music, timely social commentary
Although it disturbed me greatly to think that Japanese adolescents might be struggling with these issues and events (seems kids all over the developed world are in a similar boat), I am glad I saw this film. It's beautifully made, the acting is stellar, and the music is gorgeous. The fact that it grew out of a project begun on the internet, where real people's experiences and reactions were integral, just makes it more meaningful. I recommend it highly.
If, however, you are a parent or other adult who shares it with younger people, make sure to discuss it during and/or afterwards. I don't think kids should be prevented from seeing films like this - the issues in them are far too close to home for them. But, I do think that it's important not to leave them hanging in the wind without a way to process the violence, sexual and otherwise, or their reactions to it, pro or con.
Off the Map (2003)
Enjoyable, interesting, visually wonderful, personal and compassionate film
I didn't know Campbell Scott was directing as well as acting - this film was a great surprise. This is another film I got to discover years after it was made because of Netflix. I chose it because of Sam Elliot and Joan Allen but all of the actors were good in this piece. Scott's got a deft touch and the combination of art, feeling, observation, reaction, and resolution are layered beautifully. The best thing was how well the film draws you into itself without any heavy- handedness. Really loved the experience. It was nice to see (through interviews on the DVD) that it was probably as interesting for the participants as it was to watch.
The Cell (2000)
High art which is also entertaining, psychotherapy which is accessible
I view this film as one of the best psychological thrillers to have ever been made. It is gorgeous to look at, as seductive as beauty in and of itself can be, but it is also both seductive and satisfying intellectually. Jennifer Lopez has proved herself to be a woman who can portray strength, sensitivity, beauty, and intelligence well, appealing to both men and women at the same time. In this role, she is intellectually and emotionally stronger than she is physically - as a therapist, she has to be, and it is as a therapist that she wages war with her patients' enemies and, when lucky and stubborn enough, doesn't just win a few battles. I liked seeing a good role model for this kind of struggle on the big screen. (In another of Lopez' films, Enough, we see the other side of this, where the battle being waged is both necessary and physical, and I think these two films would make a great double feature. :)
I have friends who won't watch this film through to the end no matter how much I encourage them. The film is scary and unsettling at a level which is deep enough to put many people off. If, however, you don't watch to the end, you miss one of the most transcendent sequences in film, one which more than makes up for the route by which it is achieved. More importantly, it's my opinion that we shouldn't shy away from the worst that we are capable of and, instead, should focus our most intense light on it. That's the only way I can see to alter and/or mediate the things which happen which make us afraid, which haunt us, which diminish us.
Instead of the simplistic battle of good versus evil, this film tackles the complex battle of healing psychological scars which, along with chemical/hormonal triggers, have created a monster. It's the battle of separating out what is human and reachable from what is inhuman and untouchable in a single mind tortured by the dichotomy. It is the battle of modern life, where there are no clearcut white hats and black, where complexity is unavoidable, and where dealing with people entails dealing with your own demons as well as theirs.
But, also, if you are scared or upset by the early stages of the film, you owe yourself the healing and succor of its resolution. This film gets deep into your psyche and stirs things up, especially if you've experienced any of the realities it is trying to reveal. But, especially if that's the case, you owe it to yourself to let the film work its artistic magic on your psyche as it finds a way to heal the various characters it portrays. They are very creative solutions and worth adding to your personal arsenal against whatever bumps in the night of your unconscious mind.
The brilliance of the cinematography, direction, musical score, and acting is that, as beautiful and riveting as they all are, they take a back seat to telling the story. If you take the time to watch the various extras on the DVD version, you will not be sorry. For me, it was thrilling to find out how much the hundreds of people, all artists in their own fields, working on the film got to stretch and grow in the experience. It's the kind of collaboration you hope for all of your life and only rarely get to realize. For that, alone, The Cell is wonderful in my eyes.
Because I myself am a survivor and know how heady an experience watching this film can be for both people who have been victims (and I'm guessing also for those who have been victimizers), I recommend that people who have such backgrounds watch it with people they trust and/or in a safe environment. Or, if that can't happen, that there is someone you can talk to about the feelings which come up during and/or after the film.
This is actually one of the few films which I feel could be used in clinical situations to help advance the healing of people who have these issues to deal with. There are scenes of violence and terror in this film which are evocative and get under your skin... but there are also scenes of transcendence, caring, and healing which are just as powerful if you can get to the last third of the film without turning it off first. :)
As a thriller, it's a real roller coaster ride... as a work of art, it's unsurpassed... as an experience, it's fascinating and can be mind-altering. I highly recommend it.
The Birds (1963)
Dreamlike clarity makes The Birds work on the unconscious as well as visually
I saw The Birds when it first came out, in a theater. I was visiting my home town of Philadelphia after being away for a couple of years and one of my older cousins was given the job of entertaining me by taking me to a movie. I was totally taken with The Birds but I'm not sure my cousin liked it at all. Since then, I've seen the movie dozens of times and I've enjoyed it on many different levels every time I've seen it, depending on what age I was, what experiences I'd had to date, and where my consciousness was. If I'm flipping channels and see any scene from The Birds, I tend to get riveted to the spot and have to finish watching through to the end. There are scenes in this film which, like great music, carry you along with them to places you wouldn't otherwise go but, once there, won't willingly leave.
Hitchcock's films are all crafted with extreme care and the stories of his obsessions and perfectionism are legendary. For me, those things pale beside the work itself, this film being one of my personal favorites. Tippi Hedren, whom I identified with very strongly in this film and even more so as Marnie, epitomized a certain 50's ideal turned on its head - a strong-willed woman who was visually very together but, underneath it all, perhaps a bit fragile psychologically. I like the fact that Hitchcock chose to make her rich in this film because that' makes sense to me as someone who grew up in that era. I say 50's because, although the film was made in the early 60's, it is built on the imagery and assumptions of the 50's as firmly as early 70's films were built on those of the 60's. It takes a while for the societal norms and cultural views of one decade to make it into the movies, especially the movies which make sense of, or epitomize, them.
Every camera angle and small exchange between people, or between people and birds, or between the birds themselves, is exquisitely pertinent to the story. Every detail of each set, every action, every snippet of dialogue, every gesture all fit together seamlessly to create a world that feels as real and comfortable as an old sweater... the better to take you places you would never dream of going psychologically. Comfort and safety, order, well-understood expectations all create a firm foundation for you to surrender your emotions and allow the story to work on your subconscious as well as your conscious mind.
It does this brilliantly and that is why generations of film students know the beats of the movement, the pauses and silences, the framing and the pacing as well as I do. Many people prefer to study Psycho for these nuances but I think that which film strikes one's own personal chord most resonantly speaks more to our own internal landscapes than to which film of Hitchcock's is 'better'.
I have never taped or purchased a copy of The Birds. I think it's because I would rather remember it, like memories from my own life, within the context of the time I saw it. I also like to stumble across it on TV or cable and rediscover it all over again in whatever frame of mind I am in at the time. If you've never seen it, please do. It's one of the real masterpieces of cinematic art.
Outside Ozona (1998)
innovative film-making and compassionate POV
This is one of the best films I've seen which I've never been able to turn other people on to. It doesn't seem to exist as a video or DVD rental. I think that's a travesty. It is definitely a sleeper but, unlike the other commenter, I don't see it as being anything like Pulp Fiction.. In fact, one of the reasons I like this film so much is that it deals with extraordinary things which happen to, and because of, ordinary people bumping up against circumstance and a serial killer. Somehow serendipity threads through everything in a way which I really liked. I'm a big Robert Forester fan and especially love the films he has made in the past 15 years or so. He plays the kind of person I like to meet in real life and that's pretty rare. One other thing I love about this film is the cinematography, especially fun being the first 15 or twenty minutes of the film. No spoilers! Just watch it if you get a chance. I keep hoping it'll come back on cable so I can see it another time.
Sin noticias de Dios (2001)
Loved this film - funny and unpredictable
I rented this film because of the cast and worried that the subject matter would bore me but far from it. It was treated in an innovative and quirky way which kept me interested and laughing, at times out loud, and glued to the screen to see what would come next. All of the actors were great but I especially loved Penelope Cruz in this film. I have found her to be competent in other films but never really got how good an actor she could be until seeing this film. Fanny Ardant was a great choice for her role, as was Bernal. It was great seeing Gemma Jones in something worthy of her once again, albeit a relatively small part. Really enjoyed this film.
Ying xiong (2002)
Chinese history and legend made real in imagery and action
I enjoyed Hero (Ying xiong) on many levels, first and foremost as a lover of cinema, for it is a work of visual and kinetic art. The cinematography, art direction, costumes, and music all set the stage beautifully for the actors to bring these legendary characters to life. Zhang Yimou's directorial touch was felt in every exquisite camera angle and saturated color. The movement of objects and people, the juxtaposition of events and viewpoints, was brilliantly done. I still see imagery and lengthy snippets of the action in my mind's eye when I least expect it and I am drawn to the imagery again and again.
As a former student of Chinese language and culture who has lived in Asia, I also enjoyed seeing many things I'd only read about brought vividly to the screen. The tea house in which No Name and Sky fight their duel, the old man playing the Zheng on his lap, the music and the remembered duel in the two warriors' minds, all of that brought my time in Hong Kong and Taiwan back to me - not because modern HK and Taiwan are like that at all, but because living in a Chinese environment (if you are immersed in the language and culture) means sharing the present with the past, reality with legend, and living people with ghosts. These things are an integral and tangible part of everyday life. The calligraphy school brought back my years of studying and practicing 'grass writing' and took me to the core of the reasons behind it visually and emotionally in the scenes set there.
As a student of internal martial arts, the film put into visible form the essence of their motivation. The stillness, the concentration, the philosophy melded inseparably to the act. The meditation, thought and movement as one. It was thrillingly done.
As a woman, it was good to see women and men in lead roles dealing with similar levels of conflict, both internal and external. The only thing I would have done differently would have been to have one woman at least 'get' the holistic concept, one nation out of many. It seems unlikely that women would be less able to grasp the concept than the men. But, that is a small criticism.
I will try to see it again on the big screen and will definitely buy it on DVD when it's available. I think it's a film which will bear repeated viewing.