Back in the day, before people knew how to make proper motion pictures, there were tons of people who made what were essentially staged plays. Sure, they might have been filmed it in a studio in far more extravagant sets, but the truth was that films weren’t doing much more than what the stage had already refined over centuries. Continue reading Witness for the Prosecution (1957)
Werner Herzog and David Lynch team up to synthesize jarring, bizarre and weird into something that vaguely resembles a film. While the combination might seem odd, what unifies the two creative forces is their shared obsession with madness. For Lynch, the madness is in the postmodern, disjointed narratives he constructs while for Herzog the madness is in the simple drive of human nature. Continue reading My Son, My Son, What Have Ye Done? (2010)
Wherein I talk more about The Town because I haven’t seen the latest M. Night movie. In fact, Devil is the only M. Night movie since Lady in the Water that I haven’t seen opening night. It probably has something to do with how truly bad that last one he did was. Anyway, for that section Dylan and Nick talk about Devil while I just say generic things every now and again that make it sound like I was listening. No spoilers for either, though, given that neither Nick or I had seen the other film. Dylan sees everything, because he’s one of those guys, like a god, looking down upon us mortals and naming every film Steve Bushimi was ever in.
Malik El Djebena (Tahar Rahim), a young Arab, spends his early days in prison as a loner, attempting to keep to himself and stay away from the racial tension seething throughout the entire prison facility. He’s out for himself but can’t put up much of a fight. In the yard, a couple of men beat him up and take his shoes. He chases after them, tries to beat the two men down, but only ends up in the gutter again. Alone, he’s not going to get anywhere in the prison. Continue reading A Prophet (2010)
The Town sighs with weariness, in its opening heist, a sequence that should be bombastic, spectacular, unflinching and gripping. Instead, it’s somehow exhausting. This could be in part because audiences had just seen a similar heist weeks before (Takers) but also in part because the cues of action aren’t there. No rapid cutting, no shaky camera, no bombastic music. Continue reading The Town (2010)