Film Reviews Thread
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Le Boucher: http://mysticdollarredemption.blogspot.com/2006/04/butchers-and-murderers.html
Amongst the guests at a wedding are a Helene, a lonely teacher, played by Stephane Audran, and an ex-army butcher (Jean Yanne). Against their differences, the two develop a friendship. However, in the town there lurks a serial killer, and that killer may or may not be the butcher himself. Plagued with feelings of doubt and fear, Helene finds herself constantly at tenterhooks regarding her new friend (of sorts), and surprises and shocks are placed intricately until the very last frames.
At 90 minutes, this mystery feels longer than it is, and that may be due to some of the stylistic techniques adapted by director Chabrol, such as the languid and very sparse use of camera movement, and shots of the bells to contribute to a sense of time. Content-wise, he borrows from Hitchcock, using themes of shared secrets, obsession and moral ambiguity. These themes are used well, creating appropriate amounts of suspense and anticipation in the viewer, and Chabrol plays with his audience deftly, placing surprises and non-surprises in sequence so that we are every bit as nervy as Audran. He is less concerned with explaining the motives for the killings than just presenting them, and for that, and chilling atmosphere of indifference is created throughout the film.
The two leads are strong in their performances, and the slow, fragile romance between them is as credible as it is integral to the plot. In particular, Stephane Audran shines, as a woman who begins, poised, content and assured, only to finish ruffled and perhaps, as the ending shot shows, a little ruined by the events that she has witnessed. The film is carried along by an eerie, quasi-apocalyptic score by Pierre Janse and Domonique Zardi, which haunts long after the film has ended.
If the ending does feel like somewhat of a copout, that may because we as the audience have viewed one plot twist too many, and the frequency and slightness at which each twist is revealed diminishes its impact somewhat. But for the most part, this is good filmmaking; quite unpretentious, coolly aloof, and the subtle delivery only works to its advantage.
Amongst the guests at a wedding are a Helene, a lonely teacher, played by Stephane Audran, and an ex-army butcher (Jean Yanne). Against their differences, the two develop a friendship. However, in the town there lurks a serial killer, and that killer may or may not be the butcher himself. Plagued with feelings of doubt and fear, Helene finds herself constantly at tenterhooks regarding her new friend (of sorts), and surprises and shocks are placed intricately until the very last frames.
At 90 minutes, this mystery feels longer than it is, and that may be due to some of the stylistic techniques adapted by director Chabrol, such as the languid and very sparse use of camera movement, and shots of the bells to contribute to a sense of time. Content-wise, he borrows from Hitchcock, using themes of shared secrets, obsession and moral ambiguity. These themes are used well, creating appropriate amounts of suspense and anticipation in the viewer, and Chabrol plays with his audience deftly, placing surprises and non-surprises in sequence so that we are every bit as nervy as Audran. He is less concerned with explaining the motives for the killings than just presenting them, and for that, and chilling atmosphere of indifference is created throughout the film.
The two leads are strong in their performances, and the slow, fragile romance between them is as credible as it is integral to the plot. In particular, Stephane Audran shines, as a woman who begins, poised, content and assured, only to finish ruffled and perhaps, as the ending shot shows, a little ruined by the events that she has witnessed. The film is carried along by an eerie, quasi-apocalyptic score by Pierre Janse and Domonique Zardi, which haunts long after the film has ended.
If the ending does feel like somewhat of a copout, that may because we as the audience have viewed one plot twist too many, and the frequency and slightness at which each twist is revealed diminishes its impact somewhat. But for the most part, this is good filmmaking; quite unpretentious, coolly aloof, and the subtle delivery only works to its advantage.
The Children's Hour: http://mysticdollarredemption.blogspot.com/2006/03/something-wicked-this-way-comes-from.html
William Wyler’s atmospheric drama has two teachers (Audrey Hepburn and Shirley MacLaine) be accused of lesbianism by a guileful schoolgirl, and then have that rumour ruin their job, their lives and their friendship.
Somewhat of a taboo for the 60s, Wyler bravely tackles the subject with honesty and integrity, and his cast work well to bring the tense atmosphere to us. As the engaged, straight, Miss Wright, Audrey Hepburn suffers commendably, fighting always for the truth – as she sees it, and as a result, losing her fiancée. Shirley MacLaine is the more ambiguous character of the two. It is not on whether the allegations were true (it is clear from the off that they are just slander of the worst kind from a bored, vindictive little girl) that the mystery of the film lies, but in whether her character does secretly love Hepburns’, as more than a friend.
The children are less apt in their roles. None of them have names worth remembering, but the main one who spreads the rumours does it with such exaggerated facial expressions that it is difficult at times of most intense drama not to laugh, and the other girl, who aids her in the spreading of lies, is also laughable in her “fear.” However, if the intention was to make us dislike the children as much as possible, then they have succeeded.
But the message is clear – lies of such a powerful decree – even if they are spawned off what is guessed to be the truth, will damage others. It’s a hefty topic, and one that lacks slightly, due to the censorship of the time, no doubt, but the behaviour and actions of the characters still ring true today – the hypocrisy of the kind aunt, the spreading of cruel lies just for fun, the boyfriend’s abandonment, and how, at the end of the day, it is always the innocent that suffer, yet some, like Hepburn’s character, are brave enough to walk out in the public, with their head held high in the air, because they know they were innocent.
B+
William Wyler’s atmospheric drama has two teachers (Audrey Hepburn and Shirley MacLaine) be accused of lesbianism by a guileful schoolgirl, and then have that rumour ruin their job, their lives and their friendship.
Somewhat of a taboo for the 60s, Wyler bravely tackles the subject with honesty and integrity, and his cast work well to bring the tense atmosphere to us. As the engaged, straight, Miss Wright, Audrey Hepburn suffers commendably, fighting always for the truth – as she sees it, and as a result, losing her fiancée. Shirley MacLaine is the more ambiguous character of the two. It is not on whether the allegations were true (it is clear from the off that they are just slander of the worst kind from a bored, vindictive little girl) that the mystery of the film lies, but in whether her character does secretly love Hepburns’, as more than a friend.
The children are less apt in their roles. None of them have names worth remembering, but the main one who spreads the rumours does it with such exaggerated facial expressions that it is difficult at times of most intense drama not to laugh, and the other girl, who aids her in the spreading of lies, is also laughable in her “fear.” However, if the intention was to make us dislike the children as much as possible, then they have succeeded.
But the message is clear – lies of such a powerful decree – even if they are spawned off what is guessed to be the truth, will damage others. It’s a hefty topic, and one that lacks slightly, due to the censorship of the time, no doubt, but the behaviour and actions of the characters still ring true today – the hypocrisy of the kind aunt, the spreading of cruel lies just for fun, the boyfriend’s abandonment, and how, at the end of the day, it is always the innocent that suffer, yet some, like Hepburn’s character, are brave enough to walk out in the public, with their head held high in the air, because they know they were innocent.
B+
Finding Nemo: http://mysticdollarredemption.blogspot.com/2006/03/swimming-with-sharks-is-whale-of-time.html
Marlin, a nervous and neurotic clownfish is heavily overprotective of his son Nemo, who only wants to explore the sea in its entirety. When Nemo gets caught by a scuba diver and taken away, it is up to Marlin to swallow his own fears and find Nemo. The ensuing search and rescue organized by the him is a mass effort by swimming and flying creatures of all sizes and personalities, such as a threesome of vegetarian sharks, a fish with short term memory and an aged turtle, all helping him realise the error of his ways in restricting himself to just his home.
As charming as it is beautiful, Finding Nemo is a joy, both visually and cinematically. The characters are all so appealing and sweet that you want to hug each and every one of them, Nemo and Dory in particular. But the film transcends above just a generic animated film, for there are lessons to be learnt by it too. The film often tells a children's tale from an adult's point of view, with risky situations and emotional soul-searching putting stress on a disjointed family.
The sea is brought to us in such a memorable and unique way that there is brilliance and beauty in every frame. The animation is of all time high for Pixar, and the sound mixing and editing are also to be credited, as they capture the heart of the sea creditably. But perhaps the best thing about the film is the musical score by Thomas Newman. He creates the essence of the sea, as well as the emotions felt by the fish throughout. Note the masterwork that occurs as an upbeat, jovial number quickly escalates into something darker in a matter of minutes. In short, the music is superb.
The voice cast are capable and cannily chosen, from young Alexander Gould as the naïve Nemo, as well as Albert Brooks as the bumbling Marlin. But the star of the show is Ellen DeGeneres as Dory. As the forgetful but caring fish, she is sweet and soulful, and provides much of the comedy of the film. But the humour is also provided by the great script, which delivers a potentially dull story with wit and soul, and shies away from the sentimentality that could so easily arise of a Disney film. And the jokes, what jokes – from satire, spoof and slapstick, they’ll be a one-liner for everybody here.
Gorgeous to look at and utterly adorable, Finding Nemo sets the standard for how animated movies should being terms of entertainment value as well as story and themes – ending with the touching, thought-provoking message of how too much protectiveness on the parent’s side will repel, but, no matter how independent a child (or fish) believes themselves to be, they’ll always need their parents. A
Marlin, a nervous and neurotic clownfish is heavily overprotective of his son Nemo, who only wants to explore the sea in its entirety. When Nemo gets caught by a scuba diver and taken away, it is up to Marlin to swallow his own fears and find Nemo. The ensuing search and rescue organized by the him is a mass effort by swimming and flying creatures of all sizes and personalities, such as a threesome of vegetarian sharks, a fish with short term memory and an aged turtle, all helping him realise the error of his ways in restricting himself to just his home.
As charming as it is beautiful, Finding Nemo is a joy, both visually and cinematically. The characters are all so appealing and sweet that you want to hug each and every one of them, Nemo and Dory in particular. But the film transcends above just a generic animated film, for there are lessons to be learnt by it too. The film often tells a children's tale from an adult's point of view, with risky situations and emotional soul-searching putting stress on a disjointed family.
The sea is brought to us in such a memorable and unique way that there is brilliance and beauty in every frame. The animation is of all time high for Pixar, and the sound mixing and editing are also to be credited, as they capture the heart of the sea creditably. But perhaps the best thing about the film is the musical score by Thomas Newman. He creates the essence of the sea, as well as the emotions felt by the fish throughout. Note the masterwork that occurs as an upbeat, jovial number quickly escalates into something darker in a matter of minutes. In short, the music is superb.
The voice cast are capable and cannily chosen, from young Alexander Gould as the naïve Nemo, as well as Albert Brooks as the bumbling Marlin. But the star of the show is Ellen DeGeneres as Dory. As the forgetful but caring fish, she is sweet and soulful, and provides much of the comedy of the film. But the humour is also provided by the great script, which delivers a potentially dull story with wit and soul, and shies away from the sentimentality that could so easily arise of a Disney film. And the jokes, what jokes – from satire, spoof and slapstick, they’ll be a one-liner for everybody here.
Gorgeous to look at and utterly adorable, Finding Nemo sets the standard for how animated movies should being terms of entertainment value as well as story and themes – ending with the touching, thought-provoking message of how too much protectiveness on the parent’s side will repel, but, no matter how independent a child (or fish) believes themselves to be, they’ll always need their parents. A
Epitomessence
Brokeback Mountain
http://mysticdollarredemption.blogspot.com/2006/02/my-review-of-brokeback-mountain_23.html
The year is 1963, and Ennis Del Mar (played by Heath Ledger), a ranch hand, and Jack Twist (the ever delectable Jake Gyllenhaal), a rodeo cowboy, meet on Brokeback Mountain in a summer job hoarding sheep. It’s the classic chalk and cheese story. Ennis struggles to mumble his own name, and Jack, the charismatic charmer, lives to communicate. Over time a slow, steady bond forms, which leads suddenly and surprisingly into a physical relationship. After Brokeback they leave to follow their own lives – Ennis marries a sweet, shy girl, Alma (Michelle Williams) and Jack marries into money through rodeo princess Lureen (Anne Hathaway), but the memory of Brokeback Mountain is one that engulfs the men’s lives for the next 20 years.
The opening half hour, in which Ennis and Jack are introduced to the audience as well a each other, is shot in a beautiful way that, whilst paying homage to the classic Westerns (with the fusions of the skylines and the grass, as well as the classic close ups of the eyes), has a dreamlike state of its own that bears closer resemblance of the 90s Art flicks. The colours and images presented to us by the cinematographer and utterly stunning, and the music, though used sparsely, is wonderful. It is impossible not to get sucked in to the story.
Adapted from E. Annie Proulx’s short story, screenwriters Diana Ossana and Larry McMurtry have created a masterful script, one that stays completely true to the source material, yet combines some filmic techniques of their own, such as the foreshadowing: (Ennis moans over his lost shirt and we get a lingering close-up of Jack’s face; it is later revealed that Jack took his shirt), and adding in many more scenes - some that give the characters any additional depth that may have been lacking in the story (the masculinity of the relationship is emphasised with an antler shooting session), some just for the enjoyability value (Jack driving a tractor with his son is a pricelessly cute moment).
Director Ang Lee has coaxed superb performances out of his young actors. Despite all the hype surrounding Heath Ledger’s performance, I was still astonished by his wordless, bruised performance as the brutal Ennis. Michelle Williams shines too, as the long-suffering wife, who has seen her husband with another man, but cannot bring herself to understand what it all means. Even Anne Hathaway, so mediocre in the Princess Diaries films, impresses as the disappointed Lureen. But the star of the show is Jake Gyllenhaal, in what must be a career-best turn. His doe-eyed portrayal of Jack is everything like how I’d expected him to be – vivacious in life, tender in love, brilliant on screen. The fact that Gyllenhaal is so 100% adorable just makes his change into a bitter, resentful old man even more depressing. Essential to the film is Jack and Ennis’ chemistry, and Gyllenhaal and Ledger have risen to the task commendably. Never before in a film have two actors had such amazing chemistry.
To label Brokeback Mountain as “that gay cowboy movie” is a horrendously cruel oversimplification. For one, intimate scenes aside, the film is every bit as heterosexual as Casablanca, maybe more so. More importantly, this film is not just a 130-minute mediation on gays. No stone is left unturned in terms of their relationship – we see how the women are affected by the relationship (in a gruelling scene Alma confronts her husband on his “fishing trips”) and we see the suffering caused by the relationship. However much we’re rooting for Jack and Ennis to make it, something tells us that they won’t make it, yet the heartbreak, when it comes, is no less devastating.
There are a few scenes in the film that have really lingered with me. One is when Jack stands by the fire, half-asleep, and Ennis cuddles him and starts whispering sweet nothings into his ear. The affection and gentle charge of that scene makes it utterly unforgettable. Another scene is when Jack, sensing Ennis’ frustration at having to leave Brokeback, playfully throws a lasso over him, which leads to a fight. To me, this scene encompasses everything the film represents – Jack’s desire to make the relationship work and make Ennis happy, and Ennis’ constant pushing him away. The same could go for almost any forbidden relationship.
Brokeback Mountain is by no means an uplifting film. Although the first half-hour has a light, jovial tone to it, the rest of the film escalates into despair, and every scene with Jack and Ennis, however sweet, bears a sense of impending doom. However, Brokeback Mountain is essentially a tribute to love, and the goodness of love. Many people have found solace in this film, and this is because, like Jack and Ennis, everyone has had a love they could not keep. Age differences, religion, class and the opinion’s of other people are just a few reasons that lovers cannot be together. But Brokeback Mountain tells us not to shy away from love, because it is the most potent, wonderful feeling. Embrace it, and embrace the movie, a resounding triumph in every way; one of the best pieces of cinema to come along in recent years.
http://mysticdollarredemption.blogspot.com/2006/02/my-review-of-brokeback-mountain_23.html
The year is 1963, and Ennis Del Mar (played by Heath Ledger), a ranch hand, and Jack Twist (the ever delectable Jake Gyllenhaal), a rodeo cowboy, meet on Brokeback Mountain in a summer job hoarding sheep. It’s the classic chalk and cheese story. Ennis struggles to mumble his own name, and Jack, the charismatic charmer, lives to communicate. Over time a slow, steady bond forms, which leads suddenly and surprisingly into a physical relationship. After Brokeback they leave to follow their own lives – Ennis marries a sweet, shy girl, Alma (Michelle Williams) and Jack marries into money through rodeo princess Lureen (Anne Hathaway), but the memory of Brokeback Mountain is one that engulfs the men’s lives for the next 20 years.
The opening half hour, in which Ennis and Jack are introduced to the audience as well a each other, is shot in a beautiful way that, whilst paying homage to the classic Westerns (with the fusions of the skylines and the grass, as well as the classic close ups of the eyes), has a dreamlike state of its own that bears closer resemblance of the 90s Art flicks. The colours and images presented to us by the cinematographer and utterly stunning, and the music, though used sparsely, is wonderful. It is impossible not to get sucked in to the story.
Adapted from E. Annie Proulx’s short story, screenwriters Diana Ossana and Larry McMurtry have created a masterful script, one that stays completely true to the source material, yet combines some filmic techniques of their own, such as the foreshadowing: (Ennis moans over his lost shirt and we get a lingering close-up of Jack’s face; it is later revealed that Jack took his shirt), and adding in many more scenes - some that give the characters any additional depth that may have been lacking in the story (the masculinity of the relationship is emphasised with an antler shooting session), some just for the enjoyability value (Jack driving a tractor with his son is a pricelessly cute moment).
Director Ang Lee has coaxed superb performances out of his young actors. Despite all the hype surrounding Heath Ledger’s performance, I was still astonished by his wordless, bruised performance as the brutal Ennis. Michelle Williams shines too, as the long-suffering wife, who has seen her husband with another man, but cannot bring herself to understand what it all means. Even Anne Hathaway, so mediocre in the Princess Diaries films, impresses as the disappointed Lureen. But the star of the show is Jake Gyllenhaal, in what must be a career-best turn. His doe-eyed portrayal of Jack is everything like how I’d expected him to be – vivacious in life, tender in love, brilliant on screen. The fact that Gyllenhaal is so 100% adorable just makes his change into a bitter, resentful old man even more depressing. Essential to the film is Jack and Ennis’ chemistry, and Gyllenhaal and Ledger have risen to the task commendably. Never before in a film have two actors had such amazing chemistry.
To label Brokeback Mountain as “that gay cowboy movie” is a horrendously cruel oversimplification. For one, intimate scenes aside, the film is every bit as heterosexual as Casablanca, maybe more so. More importantly, this film is not just a 130-minute mediation on gays. No stone is left unturned in terms of their relationship – we see how the women are affected by the relationship (in a gruelling scene Alma confronts her husband on his “fishing trips”) and we see the suffering caused by the relationship. However much we’re rooting for Jack and Ennis to make it, something tells us that they won’t make it, yet the heartbreak, when it comes, is no less devastating.
There are a few scenes in the film that have really lingered with me. One is when Jack stands by the fire, half-asleep, and Ennis cuddles him and starts whispering sweet nothings into his ear. The affection and gentle charge of that scene makes it utterly unforgettable. Another scene is when Jack, sensing Ennis’ frustration at having to leave Brokeback, playfully throws a lasso over him, which leads to a fight. To me, this scene encompasses everything the film represents – Jack’s desire to make the relationship work and make Ennis happy, and Ennis’ constant pushing him away. The same could go for almost any forbidden relationship.
Brokeback Mountain is by no means an uplifting film. Although the first half-hour has a light, jovial tone to it, the rest of the film escalates into despair, and every scene with Jack and Ennis, however sweet, bears a sense of impending doom. However, Brokeback Mountain is essentially a tribute to love, and the goodness of love. Many people have found solace in this film, and this is because, like Jack and Ennis, everyone has had a love they could not keep. Age differences, religion, class and the opinion’s of other people are just a few reasons that lovers cannot be together. But Brokeback Mountain tells us not to shy away from love, because it is the most potent, wonderful feeling. Embrace it, and embrace the movie, a resounding triumph in every way; one of the best pieces of cinema to come along in recent years.
may i ask- is it embarassing? Im watching it soon, but have to watch it wit my dad- im not comfortable with men and women sex scenes never mind gay ones!
unfinished sympathy
may i ask- is it embarassing? Im watching it soon, but have to watch it wit my dad- im not comfortable with men and women sex scenes never mind gay ones!
Epitomessence
Well, there are a few male-on-male scenes, as well as straight sex scenes. You don't see much in the gay scenes, but there's a bit of grunting, and some snogging. I watched it by myself, and I would be very embarrassed to watch it with parents, to be honest.
thanks for the honesty
right i know to watch it by myself then Ill just say oooohhh im not in the mood 
so embarasssing 
Epitomessence
To label Brokeback Mountain as “that gay cowboy movie” is a horrendously cruel oversimplification.
It would also be incorrect. The right oversimplification would be 'the gay shepherd movie'. Are there any cows in the movie? NO!
Sorry...I deal with serious issues using humour.
Epitomessence
Well, there are a few male-on-male scenes, as well as straight sex scenes. You don't see much in the gay scenes, but there's a bit of grunting, and some snogging. I watched it by myself, and I would be very embarrassed to watch it with parents, to be honest.
did you do the reviews by yourself or did you just copy and paste them from some site? ^o) coz we could have all done that.
Jayk Bakner
It would also be incorrect. The right oversimplification would be 'the gay shepherd movie'. Are there any cows in the movie? NO!
Sorry...I deal with serious issues using humour.
Sorry...I deal with serious issues using humour.
January Victim
did you do the reviews by yourself or did you just copy and paste them from some site? ^o) coz we could have all done that.
ah ok good then i don't like..what's that word called?..when you copy and don't state the origin. plus we could have looked at the website if that was the case lol. well done. so you watch all these movies? if so you're like my ex. i swear he's watched every movie he's interested in at the video store.
i don't like..what's that word called?..when you copy and don't state the origin. plus we could have looked at the website if that was the case lol. well done. so you watch all these movies? if so you're like my ex. i swear he's watched every movie he's interested in at the video store.Lol! Yeah, I'm pretty obsessed with movies, which is sometimes good, but kinda bad too (I was watching movies & footie during my GCSEs ).
I hate plagarism too. Not just in film reviews, but dance routines, talks, whatever. I'm a firm believer in what one person created belongs to them.
). I hate plagarism too. Not just in film reviews, but dance routines, talks, whatever. I'm a firm believer in what one person created belongs to them.
Epitomessence
Lol! Yeah, I'm pretty obsessed with movies, which is sometimes good, but kinda bad too (I was watching movies & footie during my GCSEs ).
I hate plagarism too. Not just in film reviews, but dance routines, talks, whatever. I'm a firm believer in what one person created belongs to them.
). I hate plagarism too. Not just in film reviews, but dance routines, talks, whatever. I'm a firm believer in what one person created belongs to them.
I know i am too... i watch at least one a day, and probably more when i know i shouldnt...
like you duringGCSEs and Alevels i watche sooo much tv and films its unbelievable! Oh well January Victim
yeh i did that with my alevels and tsr as well didn't go down too well with some of my subjects lol
didn't go down too well with some of my subjects lolyep TSR too, i once bought this game for m mobile, and i had this feeling that i couldnt study until i had completed this game
thank GOD though i did well! But i seem to have a good memory, so i learn everything the night before and it sticks in! I stay up all night and learn it all! everyone has ifferent ways of learning i suppose! I need TSR and distractions 
unfinished sympathy
yep TSR too, i once bought this game for m mobile, and i had this feeling that i couldnt study until i had completed this game thank GOD though i did well! But i seem to have a good memory, so i learn everything the night before and it sticks in! I stay up all night and learn it all! everyone has ifferent ways of learning i suppose! I need TSR and distractions
thank GOD though i did well! But i seem to have a good memory, so i learn everything the night before and it sticks in! I stay up all night and learn it all! everyone has ifferent ways of learning i suppose! I need TSR and distractions amen sister!
January Victim
amen sister!
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