Keith (2008)

Keith

The sum of all parts, doesn't always add up the way you'd imagine. Keith is a classic example. I'm not sure there's a single original thought put into the movie. So much of it feels like something I've seen elsewhere, but it honestly doesn't matter. Keith has what so few others got.

A story told with heart and soul, a convincing look at teenage choices and tons of simple charm. Its parts might be recycled, but it's put together with such care it runs like Swiss clockwork. It charms you in despite quite classic themes, but it's so balanced in where its story takes on new turns, where new revelations occur and how the emotions follow actions and actions results in emotions.

I wasn't sure what to expect when I began watching, but I sure wasn't expected to be blown away by such simplicity. Elisabeth Harnois and Jesse McCartney are both doing great portraying some tough teen balancing of life's checkbook, and the director Todd Kessler and the screenwriter David Zabel have taken Ron Carlson's story to the screen in perfect fashion.

Eye of God (1997)

Eye of God

Tim Blake Nelson's debut in the chair is subtle and quiet in its ways, but none the less a remarkable character study from a small town. Despite narrated in a twisted way, this movie isn't about surprises, suspense or whodunnit. It's all about the characters we follow, their choices and life, or lack there of.

Martha Plimton does an amazing job in one of the leads as Ainsley, and she's no doubt the shining star making the way for Stahl, Holbrook and the rest to deliver a glimpse of life in this small piece of Oklahoma.

Open Your Eyes (1997)

Abre los ojos

I've watched the remake back in the day, but it didn't make much of an impression at me at the time. I'm not sure whether it was because of the movie or because my taste have developed since then, but the original sure made an impact.

Alejandro Amenábar have both directed and co-written this with his usual right hand guy Mateo Gil, and delivers a nice little mind-puzzle blended with romance and tragedy. Eduardo Noriega delivers in the lead, and it's nice to see early Cruz before she went Hollywood. As a side-note I might mention Cruz also played in the Hollywood remake.

This isn't for everyone, but it has qualities many who like these kind of movies will embrace.

Naked (1993)

Naked

Johnny is nothing like anyone else, and following him is an interesting exercise in Mike Leigh's acclaimed movie. Add several interesting supporting characters, and Naked is a movie you'll not forget to easily.

David Thewlis is brilliant in the lead, and almost every support raise to the challenge presented. None more so than Lesley Sharpe who brings layers to her character that is essential for the movie.

This is a movie I'll have to watch again to fairly rate it, much like everything I've seen of Kieslowski and most of the Coen brothers work, but after first viewing I'm sure Naked's praise is anything but undeserved. The dialogue is rapid and deep, without ever becoming cheesy or Hallmark wisdom, and is along with the interesting characters the driving force.

Ghost in the Shell (1995)

Kôkaku kidôtai

Animated Sci-Fi classic from the mid-90's, and it delivers. We follow a female cyborg cop and her squad, and more than anything there's both a story and some incredible animations of the city delivered in a fashion to take our breath away.

Entertaining, beautiful and thought-provoking all animated into one shell. A movie I'll definitely return to some day, to grasp on the layers.

The Terminator (1984)

The Terminator

The beginning of a franchise. The story of man versus machine is interesting enough, the plot is both deep enough to be satisfying and far fetched enough to add some elements to the movie. If we add the happy 80's in retrospect, this is about as good as a 80's movie could be within this genre.

It's not as enchanting a ride as I remember the sequel, but it stands well on its own feet. Schwarzenegger works as the killer cyborg, Michael Biehn does well as the guardian angel and Linda Hamilton is perfectly 80's as Sarah Connor.

Old school Sci-Fi/Action that still works really well.

Three Colors: Red (1994)

Trois couleurs: Rouge

I finally got around to watch the third and final movie of Kieslowski's Three Colors trilogy, following Three Colors: Blue and Three Colors: White, and this time lead by Irène Jacob who I absolutely loved in another Kieslowski movie: The Double Life of Veronique.

Kieslowski announced his retirement after this movie, and only two years later he died. He'd deserved to rest on his laurels for a couple of decades more, for my immediate reaction after seeing this is that I want to watch the entire trilogy again as soon as possible. His style is so gripping, and none of the his movies can be grasped without taking the time to think them over, watch them again and think some more; enjoying the entire experience as you go on.

I'm convinced my rating for all three parts of his trilogy will be higher on next viewing, and I look forward to it.

Irène Jacob is again great, this time with Jean-Louis Trintignant as successful partner. Kieslowski paints his picture with wisdom and knowledge, and dare us to look behind the beauty he capture his characters with. Three Colors is a powerful trilogy, and Red is most definitely a worthy statement of ending an impressing career at a high.

The Consequences of Love (2004)

Le conseguenze dell'amore

In many ways it reminds me of a couple of other movies getting out about the same time. Very good movies even. I'm talking about personal favorites like Lost in Translation and Das Leben der Anderen. It takes us along on another journey of loneliness, life without meaning and dull repetitiveness for the main character.

Titto Di Girolamo lives a strange life at a hotel in Switzerland, but things are finally upon to change after years on years of doing the same. We get to tag along for the ride, and while I never get the same feeling the two previously mentioned personal favorites gave me; it's still no doubt an interesting journey to tag along on.

Paolo Sorrentino have both written and directed it, and I'll definitely look out for some of his others works after this experience. Almost as usual he cast Toni Servillo in the lead, and Servillo is great as Titto. What does however surprise me is how little work Olivia Magnani have had after this performance. Her role might not be huge, but she's got the face and the eyes to really nail her part. I hope to see more from her in the future as well. She seems like another diamond in the rough no-one have taken the time to polish.

Sorrentino haven't managed to quite capture the feel like Coppola did in Tokyo, and that's the main reason I'm not as impressed with this as I easily could have been. The score is however another bright part helping the movie nicely along.

Serenity (2005)

Serenity

This review is based upon the fact I'm a huge fan of the TV-show Firefly, and my ability to rate this movie on its own is nonexistent.

Firefly was sadly canceled in its first season, but this movie got to make a closure to several of the questions the fans of the show asked themselves. It's not perfect, even for those familiar with the storylines, but it does at least reward the fans with some inside jokes and character based behavior.

The arch mystery of River Tams faith is the important part of the movie, and the part we were looking forward to enjoy slowly in the show. I wish I could have enjoyed it the way it was supposed to be, but Whedon has done quite well taking it to the big screen for a final Serenity-reunion three years after the show got canceled.

A must see for any Firefly fan, but not mind-blowing in many ways.

City of God (2002)

Cidade de Deus

I might as well begin with my biggest problem; the narrator. Rocket is a one dollar voice for a fifty dollar story, managing to take several pieces of the puzzle down a notch in the process.

The poverty, crime and children are all excellent portrayed, but it's not like we haven't seen similar stories spun on other arenas. There's still quite a lot to get from this glimpse of their ordinary days for those of us who could hardly have imagined such an existence.

It's certainly a strong story, but its just not such a great story. There's the core of why I can't praise it too highly, but then again I might just be a little too jaded. Cidade de Deus is definitely a place worth getting acquainted with.

Dead Man's Shoes (2004)

Dead Man's Shoes

Paddy Considine is brilliant in this British revenge movie. His presence is quite remarkable throughout, and he even co-wrote it.

It's got a nice build up, a realistic feel of the grittier society and a nice touch in dialogue slowly getting away from us as scenes change. It's like they don't just deliver lines, but we're cut out of it even if it continues. I like that in movies. It gives them an edge.

The flashbacks doesn't work fully all the time, but mostly director Shane Meadows (This is England) gets it about right. There's also one scene in particular midway through the movie I didn't quite buy, but once again... it works really well overall.

For a revenge movie it's got a lot of thoughtful considerations to offer its viewers, and that along with its social touch and incredible lead makes it stand out.

Garden State (2004)

Garden State

I've never been very high on the Zach Braff fan club listings, and he didn't exactly change my mind with this movie either. Still. Unlike other places I've seen him, this is a role he understands. Of course he should, as he's also the writer and director of this baby.

This movie has enough of a plot to keep in people who felt Dazed and Confused were a little to focused on the feel alone. Yet. Garden State have much of the same excellent qualities that sets that movie apart from the masses. It brings you into the moments, it capture both the lead and the support characters well and it's got a wide emotional range.

Not to mention a Natalie Portman shining. She was excellent in this one, even by her standards. There's several moments in this movie where I'd like to grab her character out of the scene and cherish her for ever. An absolutely stunning performance.

Another huge contributor is the music. It's impossible to overlook the moods the soundtrack of this movie helps presenting. I'm not convinced any of them will change your life, like Portman's character speaks about a The Shins song, but several of the songs should at least brighten your days.

There's a couple of weaker scenes and choices in direction, but I still can't wait to watch this again thanks to the overall feel. It'll be interesting to observe if it might actually even improve then, because this is exactly the kind of movie that have done so in my past.

Children of Men (2006)

Children of Men

In this post-apocalyptic tale, Alfonso Cuarón really takes us through a realistic and gritty take on civilization after children is left out of the possibilities. Based on P.D. Jame' novel, Cuarón brings it to life in stunning fashion. The acting is also great throughout, whether being leading man Cliwe Owen or any of the several great support performances.

At some points I'm not thrilled with the plot and storyline, but overall it's minor concerns in the big picture.

London have never been captured more beautifully, or rather gritty and fascinating as the case might be.

My Life Without Me (2003)

My Life Without Me

I do have to admit this movie is flawed, but so is life. And much like life, this movie will take you for a spin; whether you like it or not.

Whether you agree with the decisions Ann takes doesn't much matter. Unlike most movies, this one will make you ponder. About life, mostly, but probably about yourself more than anything. That's an excellent quality in a movie, especially when it avoids the most abused cliches as it slowly and subtly follows the characters.

Sarah Polley is absolutely brilliant in the lead, and the support is also well cast. Isabel Coixet have done a good job adapting the novel for screen, and then directing it herself. I'll be very interested in checking out more from both Polley and Coixet based on the quality of their work with this.

My Neighbor Totoro (1988)

Tonari no Totoro

Whatever it lacks in depth of story, it more than makes up for in with its enchanting and heartwarming ways. While I've previous given Miyazaki credit for his incredible way of taking you into his stories, he's more than equally able to enchant you by letting you become familiar with his characters; and that's exactly how he reels you in with this movie.

While I've previously slashed ratings for movies because of their less than subtle morale, Miyazaki have the quality to bring his moral in without feeding you spoonfuls upon each other.

Satsuki and Mei are unresistingly charming characters, and Miyazaki plays to his strengths throughout the movie.

Adore it, love it, enjoy it, and raise your children and grandchildren within Hayao Miyazaki's magic universes.

Chungking Express (1994)

Chung Hing sam lam

How many people do you brush past every day in a busy big city? How often do you make a connection with any of them?

Chungking Express is a love letter to the purest of love, without the Hollywood mushiness, grand gestures and even unrequited at times.

We follow two Hong Kong cops love lives, taking us through many different states of love in a stylish and musically accompanied way. It sucks you in, intoxicates you and leave you with a feeling you've never really seen anything quite like it. Still. It reminds you of other great directors taking you into the loneliness, obsession or anticipation.

Kar Wai Wong have both written and directed this shining pearl, and I add his name to those I'll be looking deeper into filmographies of in the future.

The Awful Truth (1937)

The Awful Truth

It's nice to be remembered there actually was a time when movies labeled 'comedy' could make you laugh, and The Awful Truth sure achieves laughter. What's more is the fact it's charming and sparkles with life as well, which is something you rarely see these days.

It won an Oscar for 'Best Director', while also being nominated for 'Best Picture', 'Best Lead Actress', Best Support Actor', 'Best Editing' and 'Best Writing Screenplay'. As I mentioned when reviewing Make Way for Tomorrow, director McCarey felt he won that Oscar for the wrong movie that year. While there's no doubt I agree with him, simply because that's still the best movie I've ever seen, there's neither no doubt 1937 was a great year for McCarey.

The chemistry between Irene Dunne and Cary Grant is excellent, and especially Dunne is brilliant. Also worth a mention is Cecil Cunningham's performance as Aunt Patsy and Asta as Mr. Smith, the latter being a dog.

There's a couple of scenes that doesn't quite work as well as they probably hoped, but most of them thankfully helps establishing the characters and their chemistry. Overall a delightful divorce, as I guess I might as well mention the plot with half a sentence at least.

Three Colors: Blue (1993)

Trois couleurs: Bleu

When I reviewed Kieslowski's The Double Life of Veronique, I mentioned its ability to stay on your mind much like Lost in Translation does, but it's even more true for Three Colors: Blue. While Sofia Coppola's movie dealt with loneliness and disconnections, Kieslowski's first movie of his color-trilogy deals with loss.

Julie (Juliette Binoche) lose both her husband and their lone child in a car crash she survives, and the rest of the movie is about how she deals with it, how it changes her and how the life that still goes on around her affects her and her choices. Binoche is brilliant, Kieslowski equally so directing and finally also Slawomir Idziak (director of photography and scenario collaborator) should receive his share of praise for the work. While many mention the music's part as one of their many reasons to like or love this movie, the music didn't do as much for me.

While there's a lot of good to be said about this, it also lacks the engaging parts that made me enjoy both movies mentioned in the first paragraph better. It's still a fantastic movie highly recommended for everyone except those who sadly depends on high octane action, sparkling dialogues or cheap humor. This is subtle, deep and food for thought, and makes me look even more forward to reach deeper into Kieslowski's filmography.

Strangers on a Train (1951)

Strangers on a Train

On the rapidly ever growing list of praised directors I reach late, we've reached Hitchcock. I've always been a fan of classic old fashioned murder mysteries, so the film noirs of their prime should speak to me in many ways. Not at least because they have the good old alibis and motives as their focus, rather than all the scientific CSI stuff we're stuck with today.

I'm not a huge fan of Granger, but Ruth Roman have a certain quality as Anne Morton and Robert Walker is brilliant as the charming and psychotic stranger.

We've all met him. The stranger who's just a little too friendly and chatty, but more often than not they turn out quite differently than Walker's character Bruno Antony. Maybe this movie should be blamed for how difficult it's to chat friendly with the guy next to you wherever you go these days, but I imagine it's more about the times we live in than Hitchcock.

I don't love this movie. Its final half hour have a little too many shady choices for my liking, but it's very interesting for quite a while. I certainly notice several interesting choices by the director, and look forward to get to know his work better. Walker sadly died at the age of 32 the same year this movie was released, and that's a great loss. He certainly brought another layer to this picture with his part.

The Double Life of Veronique (1991)

La double vie de Véronique

Much like Hayao Miyazaki, Krzysztof Kieslowski is a director I've heard a lot of praise about, but not got around to until now. Now they've got more in common, as both impressed me at first meet.

Kieslowski takes us into his own pace, painting his picture with a lot of emotional care. For a while I wasn't quite sure where he was heading, but the ride never bored me anyway. Sometimes the journey is the goal, but he's got more up his sleeves.

The emotions is what I no doubt will remember this movie most by, and whether with music or just facial expressions; Kieslowski have done a brilliant job. Irène Jacob is perfect cast for the lead; not to shining at first eye, but with such a presence in scenes.

The Double Life of Veronique includes a brilliant love scene, done better than I can remember anything seen for quite a while. So much emotions and with such a knowledge, without having to dwell into exploitative camerawork to undermine it.

This is the kind of movie with the same ability to grow in your mind long after the end credits, much like Lost in Translation. I'm quite certain I'll revisit this as well, but until then I really look forward to check out other of Kieslowski's movies.