weatherl-josh Reviews

The Whole Shootin' Match (1978)

Regional Cinema at Its Finest: The Whole Shootin' Match

[8/10 · 9 May 2011]

The Whole Shootin' Match, a regional film set in Texas and the inspiration for the creation of the Sundance Film Festival, is a wonderful example of the power of a simple story when told by regional actors. Truly, that is the draw of this film; the fact that a viewer from Boston or New York could enjoy it is a testament to the power that regional differences hold when it comes to cinema.

The film's narrative, is very simply and has almost no major events to break it up; it almost feels like art cinema in the way that the film is not plot driven, but character driven.

The cinematography of the film is excellent, with shots that have a documentary feel to them and do not distract from the feeling that the viewer is simply viewing what some folks in Texas during the 70's were like.

While some argue that the main characters in the film are evil, or 1 dimensional, the characters are just good ole boys that are trying to make their way in life, though often failing in these attempts.

Overall, a great film, though particularly good if you are from Texas.

Tsotsi (2005)

Tsotsi: Global Cinema with an Excellent Introspective Perspective

[7/10 · 9 May 2011]

Tsotsi, a South African film following several days in the life of a gang leader, is an excellent example of world film. While containing some elements of regional cinema, Tsotsi is different by offering elements that speak to it's geophysical location, such as its commitment to using the original language and actors of the area.

The story is simple enough, but it is the introspection of the main character, Tsotsi, that occurs that makes this film so great. His pain and struggles are easily identifiable and relate-able as an audience member and make for a story that doesn't just focus on a series of events, but rather, larger problems that can cause permanent change in the lives of people.

Overall, a good film that is easy and fun to watch while also containing enormous amounts of character depth and development.

Days of Heaven (1978)

Days of Heaven: American Pastoral Film Poetry

[6/10 · 9 May 2011]

Days of Heaven is a beautiful art film made in America during a period in Hollywood in which a new breed of directors began making films that competed with their European art-film counter parts. The film has a simple narrative that is quite easy to follow, and executed well, but, overall, the films biggest flaw is that, quite frankly, it is very boring. I have seen many films that use classical pastoral imagery to tell a story, but the execution here seems to have been botched slightly.

The cinematography is the film's strong point, with beautiful shots of wheat fields and an overall feeling of careless summer draped over the whole feature. In setting this atmosphere, there were many times where I said to myself, "that scene was absolutely, and completely too long/unnecessarily." It seems that in trying to convey this imagery, the film showed many disjointed shots that did little to aid in the overall imagery, but, instead, distracted me from actually enjoying the film. I know many people disagree with me, but similar films have executed this style with much better results, and for this reason, the film is mediocre at best in my mind.

Overall, a fun, beautiful film, but take a caffeine pill beforehand if you're not planning on falling asleep.

Gabbeh (1996)

Gabbeh: Beauty in Color and Life

[9/10 · 9 May 2011]

This is, without a doubt, one of the most beautiful films I have ever seen. Gabbeh, an Iranian film which chronicles the complex life of a young girl and her family who live in the mountains of Iran herding goats, is told with such conviction and simplicity, that it is hard not to fall in love with this film.

The narrative displays non-Western conventions, while remaining simple and easy to follow for a Western audience. It is actually quite refreshing to see a film that is told in the way Gabbeh is told.

The content of the film is brilliant, with themes of nature, life's beauty and misfortune and complex family relationships. The use of color, which is arguably one of the most unique and interesting features of this film, warrant at least one viewing, if not multiple. Also, using the rug, or, gabbeh, as the film's centerpiece is a wonderful visual anchor, and reads well for a Western audience.

If the story is not enough to sell this film, the cinematography more than makes up for any mistakes this film has. The film is short enough that the pastoral imagery remains beautiful and not boring or simplistic, but is interjected in the film enough that it remains a focal point which pushes the film forward in many aspects.

Overall, a must-see. Absolutely one of the best films I've ever watched.

Simon of the Desert (1965)

Simón del desiert: Classic Buñuel

[10/10 · 27 April 2011]

Buñuel, in this classic surrealist film, captures the spirit of the turbulent 60s, while imposing his criticisms of The Church, Spanish culture. Unfortunately, they ran out of money mid production, leaving a traditional ending up in the wind (though, when talking about Buñuel, traditional is almost always up in the wind). The narrative is somewhat classic in that it follows a time based plot which focuses on several central characters. The cinematography captures the desert and the scenery of rural life in Mexico. The acting, although somewhat surreal, is excellent, and further underlines the criticisms that Buñuel was attempting to pull out of this film.

In trying to dissect this film, it's difficult to give a play-by-play, but the elements of the film play well with one another, giving the impression of a well thought out, and excellently executed film, which, in some ways, asks more questions than it answers.

A must watch, Simón del desiert is a classic in the history of surrealist films.

It's Always Fair Weather (1955)

The End of an Era: It's Always Fair Weather

[6/10 · 27 April 2011]

It's Always Fair Weather marks the end of the massively successful musical period in Hollywood, and the beginning of the turbulent 1960s. The film centers on 3 Men who served in the Army together during WWII and formed a close friendship. They vow to return to NYC ten years later to see each other once again, and when they do, they've all changed quite a bit from the men they once were. Ironically, the film itself was released almost 10 years after WWII, and much like the men in the plot, the changes that occurred during that 10 years meant almost certain failure for this happy-go-lucky musical.

The film follows a familiar format: a series of unlikely events leading to a resolution that leaves the audience with a warm-fuzzy feeling, but the problem is that the average person during the mid-1950s had lost that happy-go-lucky feeling, and it is evident in the delivery of much of the material during the film, which comes off as somewhat ridiculous. It translates even more poorly to a modern audience, which will likely enjoy it as a novelty, but nothing more.

Bottom line, a good musical, but not a great movie.

Cléo from 5 to 7 (1962)

Cléo de 5 à 7: A French Masterpiece

[9/10 · 27 April 2011]

Realism in one of the finest senses, Cléo de 5 à 7 takes place over the course of 90 minutes (the name Cléo de 5 à 6:30 just didn't sound as good I'm sure) and tries to show what 90 minutes of uninterrupted life would be like. The film follows a young singer, who, though some read as pompous and over-the-top, is transfixed on the thought of life and death as she waits to find out the results of a medical test from a doctor.

The film makers took some artistic liberty when it came to actually presenting an uninterrupted 90 minute narrative, but as a viewer, at no point during the film are we bored or uninterested in what is happening. The film captures the inextricable, minuscule and innumerable interactions between a person and their surroundings during this 90 minutes, and it is absolutely stunning.

The cinematography is subtle, but not understated, making full use of modern cinematic technique, while still having the feel of a documentary.

An absolute delight, Cléo de 5 à 7 is a must watch.

Paisan (1946)

Paisà: A Glimpse Into Reality

[9/10 · 27 April 2011]

In terms of a historical film, Paisà encapsulates the war time experiences of many men, while maintaining a palpable "realness" that translates well to the world of film. A three part film (containing 6 chapters), Paisà is amazing in content, context and composition, with each element within the film taking a powerful role to make the film whit it is. In terms of narrative, the film can be difficult to follow at times, but not so much that the viewer ever feels lost within the story. It does not focus on one person, but, rather, seeks to show the experiences of many throughout parts of the war. The film aesthetic is gritty, and realistic, often allowing the camera to linger in spots that would make a grown man cringe. The composition breaks some traditional film aesthetics, following a documentary format, adding to the "real" feel of the film

All-in-all, Paisà is a classic.

Godzilla (1954)

Gojira: A Parrallel of the Horrors of War

[7/10 · 27 April 2011]

A classic film for all the wrong reasons, Gojira was picked up by American studios who stripped the film of much of it's original meaning by adding in cheesy and over-the-top dubbing and an American reporter who somehow slipped into a few scenes, just to make it palatable for a Western audience. The original stands as an excellent film, though. There are clear references to using atomic warfare and the dangers and pitfalls of too much power. When the film is read as a critique of western actions during WWII, the whole meaning shifts, and the film almost feels like a European art film, presenting an excellent social explication in a form that viewers of all ages could swallow.

Even when read in the most shallow of interpretations, the film is excellent, showing incites into the beginnings of the entire sci-fy film genre.

An excellent film, and a must watch.

Stranger on the Third Floor (1940)

Noir, Expressionism and Peter Lorre Redeeme a Boring Film

[6/10 · 26 April 2011]

I must say, I didn't love this film, but Peter Lorre was absolutely great in this picture. He does an excellent job of being the "creepy neighbor" in this film. I was very happy to see he was cast in this film.

In terms of film aesthetics, the film is very good. If not for the rather poor acting from the rest of the cast of the film, it would almost feel like a Hollywood art film. With many elements of film noir and a dream sequence that feels expressionistic in quality and nature, the film excels when it comes to cinematography, but it is ultimately the boring story and the poor acting by the other actors in the film that prevents this from being a 10/10 in my mind. There was just nothing all that spectacular about the narrative, and, due to the lack of a real "main character" (the film shifts focus about 5/8th of the way through) it just difficult to stay interested enough to really appreciate the film beyond the novelty of seeing noir and expressionistic elements in a Hollywood film.

Metropolis (1927)

Metropolis: A Modern Classic Years Before It's Times

[9/10 · 26 April 2011]

I must warn you before reading my review: I really, really like this film. It is absolutely incredible. With that being said, my review will likely be biased. I think I like this film for several reasons. Firstly, I think this is one of the only black and white films I've ever seen that actually makes use of black and white film stock. The contrast between images is so crisp and clean, it is visually stunning and artistically executed. It is an absolute pleasure to watch it for that reason alone; black and white has quite a bit of depth when done correctly; this film is no exception to that rule.

In terms of the actual narrative of the film, it is easy to watch, and translates well for a western audience of any age. The narrative is laden with messages of the dangers of blatantly following any ideology and putting too much faith in technology. The climax of the film, in which the lower levels of the city are being filled with water and the children of the workers are in danger of being drown, is one of my favorite scenes in the film; it is executed very well, and even seems to contain some elements of montage filmmaking in the way it is cut.

The acting also is executed quite well; it has a bit of a theatric flare, but still is quite believable. It, overall, adds to the overall phantasmagorical feel of the film and helps the viewer become immersed into the world of Metropolis. Overall, an excellent film for anyone. There is a lot of depth to be explored, but it also is just enjoyable to watch without going into the details of the subversive meaning behind the film.

Battleship Potemkin (1925)

A Classic in Russian Cinema and Montage Filmmaking

[8/10 · 26 April 2011]

This was an excellent movie. There is a huge amount of historical significance to this film, in the realm of history and film history. The elements of montage filmmaking within this film are what makes it great. Despite the fact that it was made for a Russian audience that had endured years of political turbulence, the film holds particular elements that can also attract a younger audience, often with no knowledge of the history surrounding the film. That, is what truly makes "Battleship Potemkin' a great film; it goes beyond the limits of language and promotes a historical quality within filmmaking. The film's narrative, which follows a traditional structure, is easy to follow, and is only interrupted by intense moments which contain elements of montage filmmaking. These elements add quite a bit to the film, showing the disjointed state of politics within Russia during this period and highlighting the traditional narrative structure. The film's altering of the actual historical ending of the revolution within Russia actually fits well with the structure of the film, but also is seem by some critics as a blatant promotion of Russian nationalism.

True Heart Susie (1919)

True Depth in "True Heart Susie"

[9/10 · 30 January 2011]

I really enjoyed this film; for me, it was the first time I had watched a silent film that included real character development and depth to the story. Despite the oversimplification of some aspects of the film, it serves as a monument for the history of modern film, with characters that aren't quite as simple as "good" and "bad". In my opinion, the most interesting aspect of the film was the deathbed scene, where it appears that the unfaithful woman, Bettina, is actually sorry for what she has done to her husband, and the life she lived which, ultimately, ended up killing her. Lillian Gish is truly lovely in this film as well; it is beautiful to watch one of the first films in the history of such a monumental actors career.

Hypocrites (1915)

Led the way in terms of Cinema Advancements, but Boring...

[6/10 · 30 January 2011]

This film marks a distinct change in the way narrative film making took place, with a plot that included flashbacks and interlaced story lines, this film is very interesting. While I personally did not enjoy it, it is hard to ignore how interesting this film is in terms of the history of modern film technique. The story, due to it's lack of sound, is quite difficult to follow, but instead presents itself as a series of allegorical quips meant to criticize the religious crowd of the time. The blatant presentation of truth as a naked woman (the naked truth) along with the way the wrath of God is simplified to the economies of a child (do something bad and you get hurt) will likely bother those inclined to religious belief or introspective thought.