This film still baffles me. It’s bizarre aesthetic and aggressively anti-Hollywood style results in the most memorable action film I saw this year. I’m not sure if I love it, but I like it now and it’s certainly worth the time of anyone who’s interested in action or pulp. There’s tons of eye candy despite how grungy and bleak the world looks, something I can’t say for many of 2013’s action blockbusters.
A poem in film form, a rumination on suffering, and a contemplation on religion. The film certainly challenges the audience with its subject matter, which is so overpowering and sensational that one is likely to forget how much beauty the film finds in the midst of the horror.
Olivier Assayas writes films that tear at the seams of cinema and get at these primordial ideas. Irma Vep is this strange exploration of acting and identity in a fictional attempt to remake a silent film. The actual production becomes secondary to Maggie Cheung’s weird journey into the identity of her character.
When you cast George Sanders and Ingrid Bergman as a married couple, greatness is bound to happen. The film’s look at a vacation heading towards disaster is a great piece of filmmaking and the final moments are beautiful.
The film gets a lot of mileage out of the disconnect between the perverse and the puritanical. What’s remarkable for a film so funny is how it plays it straight while recognizing how absurd it all is. Its sincerity leads to an ending that ends up having a lot of emotional weight despite how silly it should be. It’s a story as much about the artifice of acting as its themes of love.
This film takes its time revealing what is going on and where it plans to go. A majority of the film might seem derivative to what the film is actually about. However, the story of two boys who should hate each other and what one of them ends up doing is a powerful examination of the legacy of hate and the power of love amid an all too real feud.
I would have sworn I saw this as a kid, but once I sat down and watch it this year, I realized that I’ve never seen this. How have I never seen this? From the wonderful Paul William’s soundtrack to the signature Muppet sense of humor, I loved every moment of this film. And that ending is brilliant and subversive for a family film. Love it.
There are a surprising number of films in Iran that put us in the shoes of women, so much so that they collectively made up a spot in my list last year. This one might be the best at giving us their perspective. It’s a film the completely depowers the audience alongside its female characters and a politically audacious piece of filmmaking. Jafar Panahi risked his life making this film, and he’s still making films today against the commands of his country.
Jean Couteau’s blend of modern France with fantasy creates an enthralling juxtaposition. Some of the special effects in this film are so elegant and bizarre, haunting visions of light. The entire film feels like one of those dreams you have where everything makes perfect sense even though in the back of your mind something tells you things are off. Few films can capture so perfectly that feeling and Orpheus is one of those rare titles.
Motion is a central part of cinema. Of all the films I saw this year, this film did the best of capturing the magnificent and beauty of motion. While it could have been a straightforward recording of dances, Wim Wenders found a way to make each sequence come alive as filmic as well as create interludes that makes Pina much more than a dance film.
Pride and Prejudice (2005)
It only took me two years to see this film after reading the book. As a big Joe Wright fan, it’s obviously the visualizations that speak to me in this film and he finds a great way to get into some of the character’s head without a word. It’s able to keep the wit of the book while still being cinematic.
This is one of those films where you simply enjoy going along with the characters, which is quite strange for this film since neither of the leads say anything. There are a lot of simple still shots and I could see most people finding this film dull, but I found every moment riveting.
What impresses me the most about Scenes from a Marriage is its naturalism. Ingmar Bergman is such a formal director that I often find his films suffocating in their constructed. This feels like the antithesis, a personable, down to earth and natural film that completely won me over in the opening moments. Bergman’s signature sympathy makes for a powerful story about an evolving marriage.
Who knew murder could be so fun? The playful relationship between Nick and Nora Charles makes for a lot of fun scenes, especially the party sequence. Also, the scene where Nick gets shot is great. I was surprised by how grimy this film felt for the time and then I went back and read the book and wow, this was a cleaned-up adaptation. Also, that dog is super cute.
I usually love musicals for their music. Here, I love everything outside the music just as much, if not more, than the musical bits. It’s a fun, witty love story filled with a lot of clever bits of miscommunication. Plus, the butler is quite possibly the most awesome characters to ever inhabit a musical.
From the opening scene, Trouble in Paradise sets itself up as something a bit deceptive. The game of cat and mouse that results from the strange romance between two thieves ends up being a blast to watch. They steal each other’s keepsakes and each other’s hearts.
You think D.W. Griffith’s stitch of casting Lillian Gish as the pure, innocent woman would get tiring, but Lillian Gish is so convincing in the role that I fall for it every time. This time, the love story between the two leads is so pure and innocent, but as time goes on, trouble begins to brew and we see how good intentions can lead a good man astray. At least she still has the cow.
Because if you can’t actually drink, watching people drink is the second best thing. Another one of those films where hanging out with characters is a blast. The story exists within recurring spaces that become more and more meaningful as the film progresses. Probably my favorite Hong Sang-soo film.
I’m not the most patriotic or sentimental person, so it surprises me how much I love this film. James Cagney’s talent goes a long way. I’d put him up against Astaire and Kelley in the singing and dancing department and he’s a better actor by a wide margin. The songwriting is also superb, the scene where Cagney shows his sister “Mary’s A Grand Old Name” is one of my favorite scenes of any film I saw this year.
Television isn’t movies, you say? Well, this is my list and I can do what I want and break all the rules because I didn’t watch that many movies this year, anyway. And part of the reason why is that I was watching these shows.
I’ve had people since high-school telling me to watch this show. I finally saw it and, yes, it’s as good as everyone said. There’s a magnificent level of craft to the quality of animation and the music consistently elevates each scene. It’s so damn cool without ever being showy. Everything feels like it comes together effortlessly.
I finally finished it! Deep Space Nine is one of those shows that consistently gets better as it progresses (well, except for a slight dip in the last season). It pioneered the season structure of storytelling that practically defines serious storytelling in TV today and its themes were way ahead of its time. It’s probably the most potent piece of post-911 fiction made before 911 happened.
This show got me out of a big writing rut. Each season so far has ended up inspiring about as many words as I wrote for a paper in school. The amount of depth of thought in each episode is mind-boggling to me and when it comes together for an entire season, you end up with what’s probably the best TV show I’ve ever seen. And I still have two more seasons to go.
© 2014 James Blake Ewing