Tag Archives: Michael mann

Top Five Films Of 2011

Posted on by

Well okay, maybe that title is somewhat inaccurate. These are my top five films of the year; the ones that moved me, thrilled me, chilled me and left me bowled over by the endless power of the movies. Obviously I didn’t get a chance to see everything that came out though I like to think I gave as much effort as I could to see stuff from across the spectrum of releases. I don’t expect everyone to agree with my choices; one of them I know has incensed arguably more people than it has awed. But like I say it is my humble opinion. Agree or disagree to your content…

1) THE TREE OF LIFE

Terrance Malick’s fifth and most ambitious feature to date, feels like something that we may never see again; a $30 million mainstream film that unashamedly confronts the meaning of life, the cruelty of death, the absence of faith and belief in the divine. Audiences today are so used to having narrative drip thread to them that the astonishingly loose and flowing construction of The Tree Of Life led to outright hostility from many critics and audience members. Despite my initial bewilderment at it through, it stayed with me through the months and on repeat viewings has grown into a profound and deeply moving work. Brad Pitt and Jessica Chastain are extraordinary as a married couple bestowing their differing views on life to their children. What follows is overwhelming vision of the minutia of family life compared with nothing less than the birth of life itself. For me The Tree Of Life does what cinema should do; it takes the most intimate, recognisable aspects we understand and contrasts them against something unfeasibly epic, powerful and ultimately incredibly moving.

2) DRIVE

Roaring out of Cannes like the greatest Michael Mann film that Michael Mann never made, Nicolas Winding Refn’s sleek, blood splattered romantic fairytale captured the hearts of minds of critic and audiences alike. Ryan Gosling truly cements his star status with a near mute role as a stunt driver by day and getaway driver by night who goes up against the LA underworld (personified by a spectacular and unexpected villainous turn by Albert Brooks) when he falls for troubled Carey Mulligan. The two worlds of the story smack head into each other in a spectacular climactic scene in an elevator. The scenes of extreme violence could have been too alienating yet Refn directs with such flair and panache that nearly every scene makes you hairs stand on end. Throw in the best soundtrack of the year hands down and you have an instant cult classic. I walked out of it like i was walking on air.

3) MELANCHOLIA

It could have been overshadowed by director Lars Von Trier’s poor taste in humour at this year’s Cannes Film Festival but thankfully his intimate apocalyptic drama is strong enough to stand on its own feet as an astonishing singular vision of brilliance. Kirsten Dunst and Charlotte Gainsbourg are terrific as two frigid sisters both thrown together by a disastrous wedding and then the arrival of a rogue planet on a collision course with Earth. Filmed in a woozy, dream like palette with very deliberate framing and hauntingly beautiful compositions it takes the difficult subject of depression and manages extraordinarily to turn into a transcendent and oddly uplifting experience.

4) WE NEED TO TALK ABOUT KEVIN

Arguably the boldest novel adaptation of the year, British director Lynne Ramsey makes a stunning return to screens with a disorientating and devastating tale of a women living in the shadow of her monstrous son and terrible crime he has committed. Tilda Swinton is reliably brilliant conveying both the mother’s dawning horror at steadily disturbing events and the guilt that she feels for not showing the love she should have for the child. It’s a role that most actresses would have balked at yet Swinton plays it with such mesmerising confidence. As good as she is though the film arguably belongs to Ezra Miller as the teenage Kevin who beneath a seemingly innocent, sweet veneer chills to the very bone. Hopefully we won’t have to wait so long for Ramsey to release her next work.

5) CAVE OF FORGOTTEN DREAMS

Having dragged a steamer over a mountain, travelled to the furthest reaches of the Amazon and Antarctica acclaimed German filmmaker Werner Herzog goes into the depths of the Chauvet Cave in southern France to document not only it’s astounding geographical presence but also the oldest cave paintings known to man, perhaps they are the beginning of art itself. Shown in 3D at cinemas, I caught up with the film in 2D and was still floored by the beauty and skill with which Herzog examines these paintings as well as the brilliantly dry wit in his unmistakeable Bavarian drawl as he spends time with the familial team of scientists living in the shadow of the caves and simple yet deeply profound musings on the passing of time and the origins of these extraordinary drawings. When it comes to the vision of nature itself, Herzog is rarely topped.

J. Edgar {Film Review}

Posted on by

There have been many portrayals of J. Edgar Hoover over the past few years in both TV and film. The last time I saw someone playing Hoover was Billy Crudup in Michael Mann’s Public Enemies in 2009. Now Clint Eastwood has decided to take a personal approach to the story (which resulted on the FBI claiming Eastwood making a bad representation of the man), with the help of Dustin Lance Black (from his Oscar-Winning screenplay and the heavily acclaimed, Milk) and Leonardo DiCaprio. You’d think on paper that these three particular individuals would produce something fascinating but it unfortunately doesn’t exceed on not being more than a moderately interesting biopic.

In case you don’t know what the story is from the movie’s title, it focus’s on the life of J. Edgar Hoover (DiCaprio). First seeing him in the 1960s when he was in his late 60s, he tells about how he came to work for the department of justice and worked his way up on being director of the FBI. Also encountering with Helen Gandy (Namoi Watts) and Hoover’s protege, Clyde Tolson (Armie Hammer). It later focus’s on Hoover’s and Tolson’s personal relationship, first starting on being close friends to having something more.

The performances in this film is a bit mixed, but edging towards positive. DiCaprio reminds us why he’s the best at what he does and doesn’t show any signs of faltering. Hoover is presented to us on being authoritative but also conflicted on his social life. There’s various scenes where he spends time with his mother, played by Dame Judi Dench. Dench plays the character very well and shows where Hoover gets the commanding persona from. Though as much I love Dench (who doesn’t?), her accent is a bit hard to decipher (whether she’s from a different country or was trying but failing on putting an American accent). Naomi Watts kind of plays Hoover’s guardian angel type character, stands by Hoover no matter what situation he’s in and there’s not much else to her character. Hammer, from his brilliant performance as the Winklevoss twins from The Social Network, brings dramatic weight and nearly out-weighs DiCaprio. He’s someone that admires Hoover’s dedication and motivation but becomes conflicted when his feelings are not returned in the same way.

Dustin Lance Black’s script is very well written but the story structure felt a bit of a mess. Which is a huge shame because it could’ve been better on starting from the very beginning rather than going back and forth from the past to the present. Something of a misstep from Eastwood, as he’s done some great films in the past (Unforgiven, Mystic River and Changeling). Where the latter film was gripping on wanting to know if Christine Collins’ (played by Angelina Jolie) son will ever be found. Whilst in this movie, it was interesting to see J. Edgar on establishing the finer details on conducting proof and evidence from a crime to nail on a suspect but there wasn’t much to learn from him as a person. A scene involving with Hoover and Tolson in a hotel room was probably the most interesting scene from its entirety but outside of it there’s nothing much else. Something that writer Lance Black got right in Milk (where you could see the struggle from Harvey Milk at work and socially) and wished he could’ve worked more on Hoover’s personal story than essentially establishing the FBI.

Overall; a shame all this talent was put behind it and the result was just average. The performances is what keeps this movie going (especially from DiCaprio, that might earn him a nomination) but there’s nothing that makes it memorable compared to Eastwood’s previous work.

3 out of 5