One of those films where you don’t expect much, but leave stunned. A film that doesn’t allow budget and effects to limit its vision, which in the end appears as a happy ending, but one that I found devoid of any happiness. Our existence as a whole is insignificant. Everything just winds up in ruins.
Sisters follows a model whose ex-Siamese twin sister is accused of a murder by a hotshot reporter. However, as in every thriller film, everything is not how it seems. While the film itself was not “chilling” or “terrifying,” Sisters’ technical merits escalate it to a level of thrill that I was not expecting. The greatest example would be after the murder when the film implements the split-screen during the police interrogation and crime scene clean-up, unsure of who will finish and make i to their destination first, I was pretty hooked in and enjoying myself. Acting is the film’s main drawback, but past that, Sisters serves up a fair deal of suspense and entertainment. Classic horror flick.
83
I’ve always disliked Steven Spielberg for the most part. His films always seem to strive for being blockbusters – with the exception of Schindler – rather than being an achievement of film making. It has been awhile since my last viewing of Minority Report (a few years I think) and I was slightly stoked / slightly unenthusiastic to be revisiting the film. Much to my surprise, the film is quite solid. Leading up to the third act, Minority Report is a more than satisfying sci-fi, albeit a few action sequences that take away from the dazzling galore of it. However, once we do hit the third act, much of the film falls apart, winding up in typical Spielberg territory.
67
A waste of great comedic talent. Feels like a half-assed Wright collaboration that is too Hollywood for its own good.
25
Modern Times is why I love cinema. Hilarious, honest, and heartwarming.
98
As much as I have enjoyed all of Bakshi’s filmography – thus far – I was completely underwhelmed by Heavy Traffic (his supposed “best feature”). While the animation is Bakshi’s classic style – meaning gratuitous sexuality, violence and over the top characters – the film as a whole feels empty and devoid of any purpose. Oh well, can’t win ‘em all I guess.
50
An equally beautiful and depressing ensemble flick that succeeds in the many areas where Cameron’s Titanic failed.
Bruno Dumont’s is the biggest surprise of 2009. Dumont’s films tend to be reclusive, inept and hard to immerse yourself with. Always in a rural village or town, the characters tend to be very distant from the viewer, each with their own private agenda that makes it all too hard to tap into their psyche at times. However, with Hadewijch, Dumont leaves the rural area within the film’s opening minutes and throws our heroine, Celine, into the City of Lights. Much less than bleak than L’humanite and Twentynine Palms, Hadewijch is my favorite Dumont to date. A pitch perfect pace, and enough questions raised, Hadewijch is a film that intertwines two extremes and tackles life, love, and tension together in an oddly beautiful way. This film makes me think that Dumont might have warmed up to the human race a bit.
The most epic and exhilarating mess of a television show you’ll be addicted to. Not the best season, but just as equally intriguing and enjoyable as the rest.
First time watching the Criterion transfer of this classic. One of the best soundtracks and most solid comedies ever made. “Fixin’ to be a lot better, man.” <3
nellodeangelis