September 2013 Film Wrap-Up

SEPTEMBER 1

Happy-Go-Lucky (Mike Leigh, 2008) = 3.5/5

This was only my second Mike Leigh film, following the unforgettably brilliant Naked. It features marvellous performances from Sally Hawkins and Eddie Marsan. There's no distinct plot, so the film is characterised by free-flowing slices of life. This makes the film feel too fragmented, but it is definitely worth a watch. Oh, and if you love your films injected with quirk, you'll adore this.

SEPTEMBER 3

Dead Ringers (David Cronenberg, 1988) = 4/5

It took me a while, but I finally got around to seeing a Cronenberg film. I had hesitated because I didn't think his unique brand of "body horror" would appeal to me. Well, Dead Ringers only features a tiny bit of what I would call "body horror". It's mostly a bizarre psychosexual drama that blurs the line between fantasy and reality. Jeremy Irons is fantastic playing twin gynecologists, and I found the film oddly touching. It made me want to see more Cronenberg!  

SEPTEMBER 5

Freaks (Tod Browning, 1932) = 3.5/5

I don't think I will ever see another film like Freaks, and yet it didn't entirely win me over. It feels ahead of its time, but also rather dated, if that makes sense. Much of the appeal lies in the depiction of everyday circus life. What makes the film truly memorable is that Browning chose to cast real sideshow performers. He did away with costumes and makeup and instead called on people with actual physical deformities to play the eponymous "freaks". 

SEPTEMBER 6

A Woman Under the Influence (John Cassavetes, 1974) = 5/5

As you will see later in this post, I watched a few Cassavetes films this month. Prior to this, I had only seen the solid but flawed Opening Night, and the irritating, draining Faces. I was beginning to think Cassavetes was not for me, which was a notion I didn't like because the man's work ethic and beliefs about the filmmaking process really appeal to me. But then I watched this one Friday night and I was blown away. This is Cassavetes' masterpiece, and everyone with a serious interest in film should see it. The performance by Gena Rowlands is frighteningly authentic. She reaches a whole new level of being here. Peter Falk is also fantastic. Richard Dreyfuss once described this film as "the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie," and confessed that it made him vomit (in a good way, of course). Please, see this film.

SEPTEMBER 9

Wonder Boys (Curtis Hanson, 2000) = 3.5/5

The plotting feels too deliberate and the characters just aren't likable enough. Still, it manages to be immersive with its darkly comic mood. It could have been so much more, though. I feel as though talent was wasted here. I contend that this is the archetypal "year 2000" movie. It wants to be really edgy but it can never escape its trappings as a drama about a washed-up writer. It also features the most cringeworthy final shot in the history of cinema. My god...it really shows its age in that moment.   

SEPTEMBER 11

Martyrs (Pascal Laugier, 2008) = 1.5/5

Seriously, just no. I hated this movie and its gratuitous self-indulgence. Martyrs is that kid in art class who draws a black square and tries to convince everyone of some outlandish underlying meaning. I was really expecting to like this, considering I loved Inside, another film belonging to the New French Extremity movement. Excessive gore isn't the problem. Excessive gore oozing from the wounds of boring characters trapped in a preposterous plot is the problem. Maybe the hype killed it for me, or maybe it really is that bad. 

SEPTEMBER 12

Radio Days (Woody Allen, 1987) = 3.5/5

I've watched so many Woody Allen films now that I know where certain works will fit in his oeuvre. I knew Radio Days would be good but not great, and that's exactly what it was. The characters are mostly boring and the subject matter won't mean as much to anyone as it does to Allen. Still, this manages to be a funny nostalgia piece.  

SEPTEMBER 14

The Lady Vanishes (Alfred Hitchcock, 1938) = 4/5

Oh how I love movies that are set almost entirely on a train! I was actually disappointed that Hitchcock's Strangers on a Train (1951) didn't feature more train scenes. In The Lady Vanishes, Hitchcock prioritises wit over suspense and it works. The dialogue is snappy and it has aged very well. This is the second-last film Hitchcock made in the UK before his move to the United States. 

SEPTEMBER 15

Vivre Sa Vie (Jean-Luc Godard, 1962) = 3.5/5

This was just my second Godard film, after the impressive and groundbreaking Breathless. I didn't like this one as much as the first, but it still contains plenty of things to admire. Despite characters whom are not easy to warm to and a plot that meanders, the film is saved by thought-provoking dialogue, stunning cinematography and a nice score. I can definitely say I have a love/hate relationship with Mr. Godard. 

SEPTEMBER 17

Zodiac (David Fincher, 2007) = 4/5

I finally got around to this atmospheric mystery-thriller from one of my favourite directors. It's not Fincher's best, but it's still a great offering. It's a moody cat-and-mouse game featuring well-drawn characters. It is hampered by being too long, but when those end credits roll, you feel as though you have walked out of the darkness and into the light. Fincher traps you inside this picture. In my opinion, it's the film that confirms his auteur status. 

SEPTEMBER 19

Celeste & Jesse Forever (Lee Toland Krieger, 2012) = 3.5/5

I don't watch that many romantic comedies, but then again, calling this film a "romantic comedy" would be cheapening it with a label. It begins with forced quirkiness, but it wins you over with realism as it progresses. Great characters and a well-written script transcend a clunky plot. 

SEPTEMBER 20

Inland Empire (David Lynch, 2006) = 4.5/5

I AM TYPING THIS MINI-REVIEW IN CAPS BECAUSE LOWER CASE DOES NOT DO THIS FILM JUSTICE. THIS FILM MAKES MULHOLLAND DR. LOOK LIKE CINEMA VERITE. LYNCH PLAYS BY NO RULES, NOT EVEN HIS OWN. MY LETTERBOXD.COM FRIEND ALICE BISHOP DESCRIBED INLAND EMPIRE AS "THE NIGHTMARE OF SOMEONE WHO HAS JUST VIEWED ERASERHEAD, MULHOLLAND DRIVE, BLUE VELVET, LOST HIGHWAY, AND TWIN PEAKS BACK TO BACK." THREE-HOUR-LONG DAVID LYNCH FILMS SHOULD NOT BE LEGAL. THEY ARE TOO INTENSE FOR WE MERE MORTALS TO COMPREHEND. FRIGHTENING AND MEMORABLE. 

SEPTEMBER 21

Blue Jasmine (Woody Allen, 2013) = 4/5

When I saw Woody Allen's To Rome with Love last year, I stated in my review that the veteran's career would not be sunk by one dud of a film. And that's exactly what To Rome with Love was—a tired, half-hearted dud. Thankfully, my suspicions were confirmed with Blue Jasmine: one of the strongest films Allen has made in the past 15 years. Many would declare that that's no mean feat, as Allen hasn't produced many quality films in that period of time. That's not my point. My point is that this 77-year-old man, who could happily retire if he wanted to, has salvaged the willpower to follow a stinker (To Rome with Love) with a very solid picture in Blue Jasmine. It shows that he cares, and that he isn't just making films "because he can". Blue Jasmine is by no means a perfect film, nor one that will blow you away (unless there's some personal resonance with the characters). Rather, it's a tight, well-executed film that doesn't waste time in saying what it has to say. You can read my full review here.

SEPTEMBER 22

The Killing of a Chinese Bookie (John Cassavetes, 1976) = 3.5/5

Cassavetes' sleazy gangster film is tastefully moody, but the final product is too uneven. This is a strange, hard-to-classify film. There is a lot of dialogue, and it all feels natural (duh...Cassavetes), but much of it does not advance the story. I might have to check out the 108-minute edited cut one day! Also, why don't more people talk about how great an actor Ben Gazzara was? 

SEPTEMBER 23

Pretty in Pink (Howard Deutch, 1986) = 4/5

I can't believe I waited this long to check out this iconic 80s gem. The general consensus on the Internet is that it is very weak compared to other 80s teen films that John Hughes either wrote or directed (or both). I strongly disagree and think this is right up there with the best works of that niche. This is more than cheap nostalgia. It's a sweet, quietly touching film with enough truisms to fill a prom dance floor. Also, while I have your attention, how about you listen to the song below while you read the rest of this post? It's one of my favourite 80s tunes from one of my favourite bands (don't you DARE call OMD a one-hit wonder!), and it really helps the film in its climactic scene.

SEPTEMBER 24

Shadows (John Cassavetes, 1959) = 4/5

This is where it all started for Cassavetes—an improvised black-and-white film that was released as a creative accident. It was originally conceived as a learning exercise amongst Cassavetes and his buddies at acting school. They filmed a whole bunch of footage with no plot in mind. Cassavetes wrote the script AFTER the film's production, and that was only for copyright reasons. How refreshing it was to see a film where characters speak the way real people do! It's a milestone American indie film about interracial relationships, electrified by a pulsating jazz score.

SEPTEMBER 26

The Crash Reel (Lucy Walker, 2013) = 4/5

I am not a fan of snowboarding, let alone winter sports. My friend Chloe-Amanda strongly encouraged me to check out this documentary and, well, it was actually a decent film. It gets a bit mawkish and exploitative at times, but it's ultimately a worthwhile examination of the battle between head and heart.

SEPTEMBER 28

Kes (Ken Loach, 1969) = 4.5/5

My first film from Ken Loach, the English director known for his social realist style of filmmaking. It's about a working-class boy in England who finds and trains a pet falcon (kestrel, to be precise) as his only solace from a rough life of bullying. There's beauty to the cruelty, and sweetness in the sadness. If blood is thicker than water, feathers are thicker than blood.

SEPTEMBER 29

Sunset Boulevard (Billy Wilder, 1950) = 4.5/5

Perhaps the greatest film about Hollywood ever made. Actually, Lynch's Mulholland Dr. is the only other film I've seen that addresses the myth of Hollywood so competently. This is a compelling character study dealing with chronic disillusionment. The performance by Gloria Swanson is something to behold. 

In Summary - The Must-See Films (4.5 or 5 Stars)

* A Woman Under the Influence

* Inland Empire

* Kes

* Sunset Boulevard  

Review: Blue Jasmine (2013)

Director: Woody Allen

Writer: Woody Allen

Stars: Cate Blanchett, Alec Baldwin and Peter Sarsgaard

When I saw Woody Allen's To Rome with Love last year, I stated in my review that the veteran's career would not be sunk by one dud of a film. And that's exactly what To Rome with Love was—a tired, half-hearted dud. Thankfully, my suspicions were confirmed with Blue Jasmine: one of the strongest films Allen has made in the past 15 years. Many would declare that that's no mean feat, as Allen hasn't produced many quality films in that period of time. That's not my point. My point is that this 77-year-old man, who could happily retire if he wanted to, has salvaged the willpower to follow a stinker (To Rome with Love) with a very solid picture in Blue Jasmine. It shows that he cares, and that he isn't just making films "because he can". Blue Jasmine is by no means a perfect film, nor one that will blow you away (unless there's some personal resonance with the characters). Rather, it's a tight, well-executed film that doesn't waste time in saying what it has to say.

The film's premise is a simple one: Jasmine (Cate Blanchett), once a wealthy socialite who enjoyed a decadent New York existence, has hit bottom in almost every aspect of her life. She flies to San Francisco to start anew with her adopted sister, Ginger (Sally Hawkins), who has never known the same privilege as Jasmine. Ginger has recently divorced her husband Augie, and is now dating the blue-collar Chili (Bobby Cannavale). Jasmine's arrival upsets the dynamic at Ginger's house, as the sisters have opposing values and expectations. Through seamless flashbacks, we see Jasmine's foreboding interactions with her husband, Hal (Alec Baldwin). Allen toys with the film's chronology through these smooth transitions between past and present, which in turn reflect Jasmine's deteriorating grip on reality. Jasmine decides to pursue a career in interior design, which requires her to take up computer classes (due to computer illiteracy). To pay for the classes, she agrees to a job as a dental receptionist. None of these endeavours ring true. Jasmine is not accustomed to choosing. We get the sense that none of these aspirations stem from passion, but rather a desire to matter. 

There's a striking sadness that underpins the entire film. We sympathise with Jasmine not because of the events that befall her, but because she brings all of her troubles upon herself. Her comfortable life in New York has led her to believe that any state of emotional disturbance is a temporary one. Jasmine's denial of her own shortcomings is what's saddest of all. She is always projecting the blame onto others, as though they "just don't get it". A major idea I gathered from the film is that people cannot exist on an objective level. We may think we have our own concrete personalities, but we actually adapt to our surroundings, depending on our company. These facades we wear are ultimately futile because we cannot find a way to marry them all. Furthermore, the film argues that we are burdened by the shackles of expectation. Ginger may not be completely satisfied in her relationship with Chili, but when she has a tryst with Al (Louis C.K), she realises that dating someone from a higher social class for the sake of conformity is not worth it. Jasmine is encased by a vicious self-fulfilling prophecy. She has always been the elite one, and even when she falls from grace, there's this painful insistence that things aren't as bad as they seem. Her psychosis defies this illusion. Things are as bad as they seem. 

Let's talk about Cate Blanchett. The most obvious comparison to make is between Jasmine and Blanche DuBois from A Streetcar Named Desire. I was more fascinated by Blanchett as an actress and her channeling of Gena Rowlands. Now, I'm not sure if this was intentional or unintentional, or if others have noticed it. I couldn't see past it. Blanchett reminded me so much of Rowlands in her mannerisms, intonation, and even physical appearance. In fact, I made this observation when I first saw the trailer. This is not a complaint. This is praise. I could imagine Blanchett playing Rowlands' role in a Cassavetes film such as Opening Night or A Woman Under the Influence. The parallel runs even deeper. In one scene, Jasmine says, "There's only so many traumas a person can withstand until they take to the streets and start screaming." Well, as soon as that line was uttered, I immediately thought of this classic Rowlands scene from A Woman Under the Influence:

  

Comparisons aside, Blanchett is phenomenal in Blue Jasmine. There is always a look in her eyes that suggests she is simultaneously detached and completely immersed in her surroundings. We never know when her breaking point will come, which reminds me of Hitchcock's famous differentiation between surprise and suspense, whereby suspense depends on prior knowledge of an impending threat, and surprise comes without warning. Watching Cate Blanchett in Blue Jasmine is a suspenseful experience. 

Here's hoping that Woody Allen can crank out more gems like this for many years to come!

4/5 stars.     

100 Film Facts About Me

I was inspired to write this post by fellow film enthusiast James Russell. It's just a bunch of opinions and anecdotes I have accumulated in my life as a film buff. Make of it what you will.

1. My favourite film is American Beauty. I vaguely recall seeing parts of it when I was about six years old. I watched it for the first time in full at the age of 15, and I immediately decided that no other film had ever impacted me as strongly as that one. You can read my thoughts on this masterpiece here.

2. My least favourite film is V/H/S. I don't want to talk about it.

3. My favourite actor is Kevin Spacey. I don't have a definitive favourite actress, but Kate Winslet may be the strongest candidate. 

4. My favourite director is Ingmar Bergman. 

5. The first film I ever saw at a cinema was most likely Home Alone 3 when I was five years old. Bride of Chucky was the second film I saw at a cinema, which is a HUGE contrast in intensity from Home Alone 3. I loved it regardless. My parents never cared what my brother and I watched as kids. 

6. I still own a VCR. The last film I saw on VHS was William Friedkin's The Birthday Party in July this year.

7. By the end of 2013, I hope to have seen every film in Woody Allen's filmography. The man has made 45 films, and as of September 13, 2013, I have seen 23 of them.

8. Most people are shocked when I say There's Something About Mary is the funniest film I've ever seen. Oh well, can't please 'em all. Humour is very subjective. 

9. The first film I saw by myself at a cinema was Ruby Sparks at Parramatta's Event Cinema on Thursday, September 20, 2012. When I say "by myself", I mean I didn't go along with anyone. However, a cute girl sat next to me and there was a bit of sexual tension...but nothing significant enough to mention here.   

10. I don't care what you think about him...I will defend Nicolas Cage to the death. OK, maybe not to the death, but I believe he is a very skilled actor. Watch Leaving Las Vegas, The Weather Man or Adaptation and then get back to me. Don't judge him based on the remake of The Wicker Man, Ghost Rider, or some other heavily flawed film. Yes, he's taken some very unambitious roles in recent years, but the man is incredible when he needs to be.

11. The most disturbing film I have ever seen is Michael Haneke's Funny Games (1997). It made me extremely uncomfortable and I don't think I could ever watch it again by myself. I love it, though. Any film that can shake me so deeply deserves praise. 

12. An incomplete list of films that have made me cry: The Lion King, The Passion of the Christ, Click, Million Dollar Baby. I know there are more, but I'm not sure whether shedding a tear counts as crying. 

13. I think the most criminally under-seen film of all time is Archie's Final Project AKA My Suicide. Seek it out and watch it. More people need to be aware of its greatness. I've never awarded five stars to a film so unexpectedly.

14. The Exorcist is still the scariest film I've ever seen (note: scariest is not the same as most disturbing). There's a reason so many people refuse to watch it. 

15. I have probably seen fewer than 10 complete action movies in my entire life, and it doesn't really bother me. That genre bores me.

16. I will never understand the praise that is heaped upon The Hangover. I think it's an extremely lazy comedy, and the fact that it spawned two sequels saddens me. Then again, like I said before...comedy is SUBJECTIVE!

17. My inspiration for taking a serious interest in film was the late, great Roger Ebert. In my mid-teens, I read one of his film reviews and I really loved the insights he espoused. It was then I realised I could watch films not only for entertainment, but also for emotional enrichment and artistic appreciation. I went through a long phase where every movie I saw would be followed by a reading of Ebert's review of it. I will never forget his words, "No good movie is too long and no bad movie is short enough."

18. My favourite trilogy is either the Toy Story trilogy or Linklater's Before Sunrise/Sunset/Midnight trilogy. 

19. My favourite Australian film is Peter Weir's Picnic at Hanging Rock. I am currently reading the novel and I am liking it. 

20. I really don't want to know what Bob whispers in Charlotte's ear at the end of Lost in Translation, and I think the people who try to decode it deprive the moment of its poignancy. 

21. I think the opening 13 minutes of Scream (1996) amount to one of the scariest scenes in the history of horror cinema. If someone asks me why I love horror movies, I point them to that scene. 

22. My favourite cinematographer is Sven Nykvist. It's no surprise that he was Bergman's closest collaborator. 

23. The film character I empathise with the most is either Oliver Tate from Submarine or Seymour from Ghost World. Many people would be disturbed by this admission. I can deal with that. 

24. The most entertaining film I've ever seen is Superbad. Literally every second of it holds my attention. I can watch it over and over again and it always feels fresh. Understandably, it's my fourth favourite film of all time.

25. I think Y Tu Mamá También is the best film about sex ever made. It has perfect doses of eroticism, sensuality, pathos, and humour. 

26. I love video stores—the feeling of browsing shelves and chancing upon that ONE film you've been looking for is one of life's greatest joys for me. It's a shame that the industry is dying. 

27. Alex Turner's Submarine soundtrack is probably my favourite soundtrack of all time. 

28. The film I've seen the most times in my life is either Home Alone 2: Lost in New York, Billy Madison, American Pie, Napoleon (1995), Matilda or The Mask. 

29. Unpopular opinion: I think Marcus Nispel's 2003 remake of The Texas Chainsaw Massacre is better than Tobe Hooper's 1974 original. In fact, it's one of the scariest films I've ever seen. 

30. My favourite film ending is either from Stand By Me, Annie Hall, The Breakfast Club or Lost in Translation.

31. Ingmar Bergman's Fanny and Alexander is the best film about childhood I have ever seen—about what it means to be a child trying to make sense of the adult minds around you. The film also features the greatest pillow-fight sequence in the history of cinema.

32. I don't know how people can watch more than two films per day. Personally, I rarely exceed one per day despite my self-proclaimed film buff status. I just feel like I need time to mull over every film I see...even the bad ones. Also, watching films requires time and emotional investment. In an average week, I'll watch maybe five films. Many other film enthusiasts would call me "weak", but whatever.  

33. My favourite book-to-film adaptation is either Submarine (this film is getting plenty of love on this list), High Fidelity, or A Clockwork Orange. 

34. I don't see the appeal of superhero films. At all.

35. I believe there are two schools of thought when it comes to why we watch films. One school watches films to escape the drudgery of life. They want to enter another dimension where everything is idealistic, because it's comforting. These people, more than anything, go to the movies to be entertained. The other school uses cinema to evaluate their own lives. This is the school I belong to. I want human stories. I want to be moved. I want stories of hardship and triumph. I want poignancy and pathos. I want Woody Allen. I want Ingmar Bergman. I want a story that is about people. I want movies that depict the way real people talk and behave.

36. Watching La Grande Bouffe was the closest I ever came to a film making me physically sick.

37. I hardly rewatch films anymore, especially for the purpose of pleasure. If I rewatch something, it's usually because I didn't fully appreciate it the first time but I saw heaps of potential in it. 98% of films I watch are ones I've never seen before.

38. As of September 13, 2013, my watchlist contains 276 films.

39. I've never laughed harder at a scene than when Bill Murray was accidentally shot and killed in Zombieland. Either that or Ben Stiller wrestling the dog in There's Something About Mary. Both scenes had me in fits of giggly tears.

40. I think the documentary Sick: The Life and Death of Bob Flanagan, Supermasochist is essential viewing for anyone who has lost interest in life and needs incentive to keep going. Actually, I just think it's essential viewing, period.

41. I think A Nightmare on Elm Street Part 2: Freddy's Revenge is unfairly dismissed as one of the worst films in the Elm Street franchise. For a long time, it was my favourite. It's definitely the film where Freddy's make-up looks the most frightening. It's a shame some people can't see past the campy elements and treat it as one big joke.

42. The most beautifully shot film I've ever seen is probably Werckmeister Harmonies.

43. I watch the majority of films by myself, and I prefer it this way. I need to be alone to fully soak up a film. I HATE movie nights because there's this conflict between investing in the film and talking to your friends. I feel like you have to choose one or the other, and neither feels right at the time.

44. I consider myself blessed to have seen a Vertigo/Rear Window double feature at the Randwick Ritz last year. I'll never forget the experience of sitting there and admiring the work of a man who was my favourite director at the time. That screening also made me realise that, when you watch movies with a large crowd, moments that aren't funny when viewed alone can become hilarious.

45. My parents bought me David Lynch's The Elephant Man on VHS when I was six years old. It was a Christmas present. While other kids were unwrapping Tarzan and A Bug's Life, I was unwrapping a film about a man with a horrifying physical deformity. I watched the film and thought it was boring. I watched it again about two years ago and thought it was excellent.

46. Here's how I decide whether I want to watch a certain movie: I go to IMDb and read the plot summary (just the short capsule one...not the entire plot outline). If it appeals to me, it goes on my watchlist.

47. Once I start watching a film, I must persevere with it. Not since my childhood have I abandoned a film once I've begun watching it. I don't care if it's shithouse; it has to be seen.

48. I consider subtitled films as a double treat for me. Seeing as English is the only language I know, every foreign film I watch is accompanied by subtitles. The subtitles make me feel like I'm watching a film AND reading a short story. I receive pleasure on two levels.

49. Ang Lee's The Ice Storm and Todd Solondz's Happiness are two of the best American suburban dramas that have ever been made and I'm disappointed that more people haven't seen them (especially the latter).

50. My favourite theme from a film is Cavatina, composed by Stanley Myers for The Deer Hunter. 

51. My favourite movie quote of all time is "I believe so strongly in mayonnaise", spoken by Elmo Oxygen in Schizopolis.

52. My favourite animated film is Mary and Max. It moved me so deeply.

53. I think the perfect length for a film is 115 minutes. That's assuming the film is good.

54. Since last year, I've kept a record of every single film I watch. After I watch a film, I rate it out of 5 stars and tweet a brief review of it. I then transfer that rating and review to my account on Letterboxd, which you can view here. Of course, I expand upon these thoughts in my monthly film wrap-up blog posts.

55. In my opinion, Alain Resnais' Night and Fog is the best documentary ever made. It is only 32 minutes long, but it takes advantage of every single one, and leaves you speechless when it's over. 

56. My favourite piece of movie trivia is probably this factoid from Home Alone: "The picture Kevin finds of "Buzz's girlfriend" was a picture of a boy made up to look like a girl because Chris Columbus thought it would be too cruel to make fun of a girl like that. The boy that was used in the photo was the art director's son."

57. If there's one plot element I love more than any other in a film, it's the character who knows an evil truth but is treated as insane by everyone else. This is the reason I think so highly of Rosemary's Baby.

58. I really want to watch the German film Die Unsichtbare AKA Cracks in the Shell, but I can't find it anywhere. Can't find a DVD. There are torrents but I can't find English subtitles. Unless someone can help me out, I think I'll have to wait until it appears on World Movies or SBS. Alternatively, I could just learn German.

59. I've never been to a drive-in cinema. One day...

60. The oldest feature-length film I've seen is Charlie Chaplin's City Lights (1931). 

61. Despite having an intense interest in film, I could never make my own. Reasons for this include being terrible with my hands, not being tech-savvy, and not feeling comfortable in administrative roles. However, I think I will have written some scripts by the time I've departed this planet. I can write...that's one thing I'm sure of. 

62. Singin' in the Rain is the film that made me realise I am very capable of loving musicals. It is flawless.

63. My favourite movie dog is Napoleon from Napoleon (1995). Also, why haven't more people seen Napoleon? It's a beautiful Australian film that I still own on VHS. It was one of the films I watched over and over again as a kid. It was my greatest comfort film.

64. The most underrated director working today is probably Noah Baumbach. Okay, there are probably some genius directors who haven't even been heard of, but of all the directors who are established, I think Baumbach is the one whose work needs to be talked about more.

65. My favourite movie title is I Killed My Lesbian Wife, Hung Her on a Meat Hook, and Now I Have a Three-Picture Deal at Disney. It's a short film directed by Ben Affleck in 1993.

66. It is a known fact that I have loved horror films since I was a little boy, but it took me ages to build the courage to watch The Omen (1976). My uncle owned it on VHS and when I was six or seven, he described the plot to me and told me how much it terrified him as a young adult. There were days where I'd just stare at the tape but refrain from even touching it. One day, I thought "Fuck this". I removed the tape from its box, put it in the machine, and I was going okay until I reached the scene where the Thorns are being driven to the church and Damien starts screaming. I hid behind the bed, only peeking between my fingers. I think I stopped it there. Anyway, I eventually watched it in full and it became one of my favourite horror films of all time.

67. You will never understand how much the Tiny Dancer bus scene from Almost Famous means to me, and I would give anything to have that scene recreated in my own life. 

68. My favourite movie scene of all time is from Woody Allen's Hannah and Her Sisters. Watch it here.

69. My dream double feature would be Mulholland Drive and Eyes Wide Shut, in that order. Can a cinema please arrange this?

70. Stand By Me is the best film I have ever seen about friendship, and I doubt I'll ever see a better one.

71. My favourite sex scene from a film is the very controversial one between Donald Sutherland and Julie Christie in Don't Look Now. Very tasteful and stylishly done. 

72. I awarded 4.5/5 stars to American Pie Presents the Naked Mile. I kid you not.

73. My favourite cinema is Dendy at Newtown, but my sentimental favourite is Hoyts at Wetherill Park.

74. Most people see James Cameron's Titanic as a joke these days, but I still think it's an excellent film.

75. My favourite film poster is that for The Exorcist. Can't go wrong with a classic.

76. My favourite sequel of all time is Home Alone 2: Lost in New York.

77. My favourite quote about film is this gem from Ingmar Bergman: 

"Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement."

78. The first film to really make me care about cinematography was Lost in Translation. I remember watching it in awe: "My goodness...these pictures look so beautiful...so much splendour." I went to IMDb and looked up the cinematographer. It was Lance Acord. I owe a lot to him. 

79. Here's what I love about horror films: I love that I can sit down and be scared shitless for an hour and a half—sometimes more, sometimes less—and emerge unscathed. It's only a movie. It can't hurt you. It's the same reason people seek the biggest roller coasters at an amusement park. Before they go on it, they'll ask the carny if anyone's ever died on the ride, and he'll say "No." That's all the reassurance you need to brave the ride. 

80. I once willingly watched Kangaroo Jack and I hate myself for it.

81. I've hardly read any books about film, which is a little sad, really. One I really enjoyed was Conversations with Woody Allen: His Films, the Movies, and Moviemaking by Eric Lax. 

82. A film that I expected to hate but ended up loving: Trade (Marco Kreuzpaintner, 2007).

83. A film that I expected to love but ended up hating: Toys (Barry Levinson, 1992).

84. I will watch almost anything starring Anna Kendrick because I have a ridiculous crush on her.

85. I watch the majority of movies on my laptop while lying in bed.

86. The worst cinema experience I've ever had is when I saw The Curious Case of Benjamin Button at Hoyts Wetherill Park. A group of rambunctious youths came in halfway through the movie, went straight to the front row, and just began yelling and laughing for no reason. I had to restrain myself from telling them all to fuck off and go home. Why couldn't they have done that when I went to see Epic Movie or some other trash? It had to be during a beautiful film like that. Arseholes. 

87. The most extreme reaction I've ever had to finding a DVD in a store is when I found Repossessed (1990) at Big W Fairfield with my friend John. John and I had joked about this film for ages. For those who don't know, Repossessed is a parody of The Exorcist. Here in Australia, Channel Ten used to show it late at night every year until a few years ago. Despite this, I never managed to stay up late enough to watch it. I was dying to see this movie, even though I knew it would be terrible. I could not believe when I saw several copies of it lying on the shelf. "OH MY GOD! OH MY GOD! I FOUND IT!" I showed John and we both started pissing ourselves laughing. I can't explain the humour in that moment. It was just funny for no reason. We laughed so much we had tears streaming down our cheeks. I'm pretty sure all the other shoppers thought we were mentally deficient. Oh, and just for the record, the movie is SHOCKINGLY bad. 

88. If I could visit one movie location in the world, it would be "The Exorcist Steps" in Georgetown, Washington. 

89. Francis Ford Coppola's Jack (starring Robin Williams) is one of the most hated films ever made. People just can't hack that the man responsible for The Godfather and Apocalypse Now also made a sappy comedy-drama about a boy with a disease that makes him age four times faster than the kids around him. Well, I say screw those people. I fucking love Jack and I don't care who knows it.

90. My top three favourite genres are drama, comedy and horror. 'Dramedy' is my absolute favourite if I want to get technical.

91. Some films on my current watchlist that I'm very intimidated of: Inland Empire, Alien, Braveheart, Brazil, Cloud Atlas, Ikiru. Some of these films have big reputations. Some are very long. Some aren't my usual cup of tea. Whatever the reason...I keep shying away from them.

92. Although it's not even in my top 20 favourite films, Ingmar Bergman's Winter Light is the closest thing to a "perfect film" I have ever seen.

93. One time during my pubertal development, I watched Billy Madison about five times over two days because I had a very intense crush on Miss Vaughn (played by Bridgette Wilson). Pete Sampras is one lucky man.

94. I think Forrest Gump is a load of sentimental claptrap. 

95. John Hughes' The Breakfast Club is a film everyone needs to see, and I will be very surprised if I ever see a better teen film in my life.

96. I think Michael Haneke understands human nature better than any other director working today. 

97. I need to check out more work from the following directors: John Cassavetes, Mike Leigh, Jim Jarmusch, Robert Altman and Federico Fellini.

98. I have a great fondness for Swedish films. You probably could have guessed that seeing as Bergman is my favourite director.

99. My five all-time "desert island" films...these are the five films I would select if I could never watch anything else ever again: American Beauty, Groundhog Day, Superbad, The Breakfast Club and Mulholland Drive. 

100. I saved this one for last because if you read it early on, you probably wouldn't continue with the list. I have never seen Star Wars. Seriously, though, why should it matter? It's just a movie. I haven't seen it because I don't think I'd enjoy it. Science-fiction really doesn't appeal to me. It's as simple as that. Why would I watch a movie that doesn't interest me? If you're a decent person, you'll understand that someone doesn't want to watch Star Wars. But there are some Star Wars elitists who are really rude to people who haven't seen the film. I'm sure some of these Star Wars fans refuse to watch horror films because they're "too scary", or refuse to watch musicals because they're "too campy". Who knows? Maybe I will watch Star Wars one day. But so what if I don't? The main point here is that everyone's taste differs, and no one's taste is inherently "right".   

August 2013 Film Wrap-Up

AUGUST 2

Koyaanisqatsi (Godfrey Reggio, 1982) = 4/5

Here's a film that is as intimidating to watch as it is to pronounce. The subject matter itself is not intimidating, but rather the approach. There is no dialogue or conventional plot in Koyaanisqatsi. We are given a series of beautifully shot sequences accompanied by some music. Thankfully, I was mostly pleased with what I saw and heard. It is a dizzying montage of images that reminds us how vast our world is, and that it owes us absolutely nothing. As for the title, it is a word from the Hopi language that refers to a state of life in turmoil. 

AUGUST 3

Fargo (Joel Coen & Ethan Coen, 1996) = 2.5/5

You must be gasping at my low rating for this film. Don't worry, I was surprised at how much I hated it, too. Actually, I don't think I hated Fargo. 'Apathy' is the right word. I can't call it a bad film. It is just sorely uninteresting. I think the main problem is that the Coens try too hard to create a melting pot of genres. It's an uneasy mix of black comedy, crime, and drama (and thriller, according to IMDb). I did not care for these characters in the slightest (not even Frances McDormand's Marge Gunderson, who is a good character that deserves a more coherent film). It was only my third Coen brothers film, but I'm yet to see anything by them that I've loved.

AUGUST 4

Somewhere (Sofia Coppola, 2010) = 2/5

The first two words that come to  mind when I think of Somewhere are 'slow' and 'boring'. Slowness usually isn't an issue for me, but when a film insists on being this dull, it becomes a problem. I was very disappointed by this one, having loved Coppola's Lost in Translation (in my top 10 of all time) and The Virgin Suicides. I think the film's title refers to the story's potential. It's out there...somewhere, meandering...but not here. It demands a level of emotional investment that just isn't warranted.

AUGUST 6

Possession (Andrzej Zulawski, 1981) = 3.5/5

It becomes ludicrous towards the end, but it is extremely well-acted, wonderfully shot, and delightfully bizarre. I can't really compare it to anything else I've ever seen. On a side note, I guarantee you will fall in love with actress Isabelle Adjani (pictured above). Those eyes...my god...those eyes. After seeing this film, though, you may not want to get too close to her.  

AUGUST 11

I Heart Huckabees (David O. Russell, 2004) = 3/5

I can imagine David O. Russell going to cocktail parties months before this film was released, regaling guests with news of his upcoming film about a pair of "existential detectives". He would wear a smug grin on his face, while the guests would fake a smile and nod slowly. OK...maybe I'm being a little harsh on Mr. Russell. His film's premise is certainly a noble one to aspire to, and I think the final product is a solid effort. Unfortunately, the characters just don't ring true, and the plot becomes almost incomprehensible by the third act. I think this material would have worked wonderfully as a novel. Oh, and you may be wondering what a 'huckabee' is. Don't worry; it's not important. 

AUGUST 13

3 Women (Robert Altman, 1977) = 4/5

So, I finally checked out a Robert Altman film! And hey, it was pretty darn good. The idea for this film came to Altman in a dream, and indeed it has a hypnotic dreamlike quality. Bergman's Persona is a very prominent influence here. This film also made me appreciate Shelley Duvall as an actress. Everyone knows her as Wendy Torrance in The Shining, and I don't think her performance here is given enough credit. 

AUGUST 15

Dazed and Confused (Richard Linklater, 1993) = 3.5/5

It didn't make a lasting impression on me, but it feels very authentic and manages to be both funny and touching. The most delightful thing about this film is seeing actors such as Matthew McConaughey, Ben Affleck and Milla Jovovich before they were stars. 

AUGUST 17

8½ (Federico Fellini, 1963) = 3.5/5

This is the film that every film buff is supposed to adore. It is the ultimate movie about making movies. While I can certainly respect it, I must say I didn't always enjoy it. On a technical level, it's marvelous. However, I am left scratching my head about the meaning of it all. It's a bit too self-indulgent for my liking. I should also mention that this is the first Fellini film I have ever seen. 

AUGUST 19

Eyes Wide Shut (Stanley Kubrick, 1999) = 5/5

I was lucky enough to watch this haunting film on the big screen last month. It's my fifth favourite movie of all time. There was no way I was going to miss this opportunity. Each viewing feels like the first. I compare these repeat viewings to going on an epic roller coaster multiple times. You know where the sharp bends and steep inclines are, but that doesn't eradicate the thrill you experience each time. It gets under your skin and unashamedly keeps its secrets. The music, the lighting, the mounting suspense, the set decoration...just everything about this film wins my heart. It is not the erotic thriller the trailer would have you believe. It can almost be viewed as a work of psychological horror. It was Kubrick's parting gift to cinema, and the world is richer for it. 

AUGUST 21

Fear and Loathing in Las Vegas (Terry Gilliam, 1998) = 3/5

Too weird to love, but too unique to hate. Think of it as an experience rather than as a film. I've never been high, so I don't know what it feels like, but I imagine it would be akin to watching this film. Remind me to check out the novel. I hear it's much, much better than this adaptation. 

AUGUST 23

Another Woman (Woody Allen, 1988) = 3/5

A lot of Woody Allen fans call this one of his strongest films, but I disagree. It's actually one of the weaker Allen efforts I've seen. It failed to hold my attention because I just didn't care about these characters' problems. It bored me, and it has one of the dullest colour palettes I've seen in any film. Someone on the IMDb message board for this film called it "the tweedest film ever made". I wholeheartedly agree. So, what's good about it? The performances, and that's pretty much it. (Damn, I trashed this film and it still got a 3!)

AUGUST 24

Like Water for Chocolate (Alfonso Arau, 1992) = 4/5

It explores love not as an emotion, but as a life force, and it boasts a very strong screenplay. My only criticism would be that it is a bit dated. 

AUGUST 25

Moonrise Kingdom (Wes Anderson, 2012) = 4.5/5

My third Wes Anderson film, and easily my favourite so far. This was such a joy to watch, like having a storybook come to life. It's an evocative marriage of style and substance. Anderson's utopia will make you regress into a state of childlike wonder. It's boosted by a stellar cast, and I was especially astounded by young newcomers Jared Gilman and Kara Hayward (pictured above). There is so much orgasmic cinematography on show.  

AUGUST 27

Chinatown (Roman Polanski, 1974) = 4/5

This film disappointed me, but only because I set my expectations too high. I can't really say I enjoyed it, as it's a very cerebral film that requires your undivided attention for its entire 130 minutes. I also found it difficult to connect with the characters, and nothing in the film touched me on an emotional level. Alas, I couldn't help but admire this as a very well-directed film. Polanski is so skilled with his camera, and it's always a pleasure to see an artist at the peak of his game (although Rosemary's Baby will always be my favourite of his).

AUGUST 29

The Sure Thing (Rob Reiner, 1985) = 3.5/5

Why had I not heard of this movie until a few weeks ago? Why don't more people talk about this movie as a must-see 80s teen comedy? This is the film Rob Reiner made just before Stand By Me, and if you're a regular reader of this blog, you'll know how much I cherish that film and what it means to me. I didn't expect this to be as good as Stand By Me, and it wasn't, but it's still very much worth a watch. It's very predictable, but that's a given with the genre. There's an undeniable sweetness here. John Cusack is an absolute joy to watch.

AUGUST 31

Through a Glass Darkly (Ingmar Bergman, 1961) = 4.5/5

An arresting chamber film where psychotic delusions intersect with delusions of faith. Extremely well-acted with stunning camerawork from Sven Nykvist. It astounds me how effortless this film looks, and I mean that as a compliment. The setup is so simple, and yet Bergman creates a work of phenomenal passion and sadness. I would recommend this as a good film to start with if you want to delve into Bergman's filmography. 

In Summary - The Must-See Films (4.5 or 5 Stars) 

* Eyes Wide Shut

* Moonrise Kingdom

* Through a Glass Darkly

Never Tell Your Children They Are Smart

First of all, let me establish what this is not. This is not a debate over whether “smart” or “stupid” people have it harder in life. This is not the rant of a lunatic with a perceived persecution complex. This is not a humblebrag—a smug confession wrapped up in a blanket of humility. This is merely a gesture of solidarity, because I’ve seen and heard countless people mention this very same concern. I’m going to provide some insight about what it’s like to grow up with your entire family and all of your peers constantly telling you how smart you are, and how such praise can ruin you for life. I am using myself as a case study.

I have always been “the smart one”. In my early childhood, I would read prolifically in my bedroom. I would devour one Little Golden Book after the other. My dad taught me how to play Scrabble at around six years old. I would sit down with him to watch Sale of the Century at the same age, because I was genuinely interested in it. At school, I would dominate spelling bees. It suddenly dawned on me that I really enjoyed learning, especially if the topic was related to words or language. I developed a reputation at school. If a fellow student did not know how to spell a word, he or she would ask me to clarify. Words became my forte. In Year 5, I was placed in a Gifted and Talented class, and the only reason for that is because I scored extremely well on the annual South Australian Spelling Test (although, I could never spell seismograph). I hated that “enrichment” class. They assumed that, because I was a good speller, I would be very enthused about plate tectonics and Harry Potter (yeah, sorry, not a fan). I asked my mother to call the school and remove me from the class, because I was too shy to confront the teacher myself. My Year 10 English teacher once announced to the entire class, “Steven is the only one who is allowed to correct me.” Imagine how I felt being placed on a pedestal like that. My teacher was probably trying to commend me on my prowess with words, but it probably only inflated my ego.

Allow me to tell you what daily life is like for me. I feel as though I need to apply very little effort in all things I do. After all, I’ve been told since my childhood that I am “naturally smart”. I can be nonchalant because my super-mega-brain will take care of everything automatically. Because of my upbringing, I feel this constant desire to impress people. I associate being smart with being praised. That’s why, when asked to recommend a good war film, I’ll say “Kubrick’s Paths of Glory”. Now, there’s absolutely no need to mention that Kubrick is the director. To the best of my knowledge, there is no other film with that title. It’s not as though I needed to differentiate between this film and another one. But I say Kubrick directed it because my brain is subconsciously telling me, “Insert that little factoid; the other person will think so much more of you.” It becomes a drug. Positive reinforcement is addictive. In Year 12 English, my teacher mentioned that the original score for Blade Runner was composed by Vangelis. I shouted out, “He’s Greek!” The teacher responded, “Why does that matter?” I was stumped. Literally, the only reason I mentioned that was to show off. People have told me that I’d make a great teacher, but it’s this “teacher” personality type that I wish to shrug off. I just want to be able to have a conversation with someone without inserting meaningless bits of information. Orwell stressed that you should never use a long word where a short one will do, but I betray that tenet. I’ll sometimes insert a fancy word in conversation because I like the way it sounds, even if it’s very obscure. Often, I’m forced to filter my words because I know that not everyone in my presence will understand them. Another thing I feel compelled to do is answer every question I know the answer to. Some students will never raise their hand to answer a question in class. They don’t want to appear as a know-it-all or a teacher’s pet. I am not one of these people. If the answer to a question is lurking somewhere in my brain, I unearth it. A few weeks ago, one of my tutors had to ban me from answering questions because I was the only one putting their hand up. It’s shit like this which contributes to my flawed personality. That tutor created a divide between myself and every other student in the class. I don’t want to feel superior. I don’t believe I am superior. Now, there would be people in that class who silently judge me.  

In educational psychology, there is something known as “academic self-concept”, which is essentially the collection of beliefs a person harbours about his or her academic abilities. Mine is obviously very inflated, but it’s not as bad as it once was. I used to wear the label “Grammar Nazi” as a badge of honour (not a literal badge…calm down). I look back at this period of my life and cringe, but I feel sorry for that confused young man who was only doing what he thought was right. I still occasionally correct people’s grammar, spelling and punctuation, but I do it sparingly, and always very politely. At times, I have suspected I have mild autism because I’ve corrected people even when I knew what they meant. What this all stems from is an intense dislike of being wrong. When I make a mistake, I get extremely disappointed with myself and feel like a failure. And why do I hate being incorrect? I hate it because I’ve been told that I’m just the “smart guy”, as though my very reason for being on this planet is to absorb and expound knowledge. Seeing someone else make a mistake annoys me. Knowing I have made a mistake myself kills me. When those around you constantly reinforce that your most prized quality is your intelligence, moments of stupidity create gaping wounds in the psyche. I feel as though I must abide by correct spelling, grammar and punctuation lest the cosmos explode. A misplaced apostrophe could misalign the Sun, the Moon and the Earth. That’s the best way I can explain it. Perhaps I have an undiagnosed case of obsessive-compulsive disorder.     

   

What makes this worse is that I’m constantly compared with my older brother, who left school in Year 10, and has never undertaken any tertiary study. I go to family functions and my relatives tell me I’m the smartest person to ever come out of the Savona family. Again, such comments put me on a pedestal, and I feel pressure to live up to that role. It’s a burden. Another one is, “You and your brother are so different; one of you must be adopted!” People find my knowledge endearing. They tell me I have a “fascinating brain”, but even a compliment like this makes me feel like a scientific oddity or a test subject. It dehumanises me. I am no longer a person in their eyes. I am a ball of knowledge.  

Let me make this abundantly clear: I am not special. I do not believe I am worth more than people who have never been to university. I do not believe I deserve more respect than people whose grasp of language is intermediate at best. Give me an advanced mathematics or physics exam, and I will prove to you how much I don’t know. I would fail that test miserably. I’d be lucky to answer 5% of the questions correctly. The reason linguistically proficient people are so often heralded as “the smart ones” is because it’s easier to demonstrate such abilities in everyday conversation. If your area of speciality is quadratic equations, good luck trying to work that into a casual chat. In primary school, I adopted the nickname ‘Walking Dictionary’. Today, my friends ask me to define a word, and when I say I don’t know the definition, they literally gasp. Sorry to disappoint, but I am only human. You are the one who has mistaken me for an omniscient deity. I never claimed to be one.     

Here’s how I think you should deal with a child who you think is “smart”. First of all, you should compliment them for individual achievements. If they write a very clever short story, say, “That is so well-written!” The focus must be on the short story. Do not say, “Wow, you are just SO smart!” If you do this, the child does not receive feedback on what was good about the story. He or she just assumes the story is good because it was written by a “naturally smart” person. You should also reward hard work and consistent effort. Make it clear to the child that they have succeeded in something because they put a lot of work into it. If your child comes home from school with a merit award for completing class work to a high standard, do not dismiss the child’s achievement with a petty comment such as “You got another one of these? You’re such a smart cookie!” Say something like, “You deserve it. I’ve seen how many hours you spend doing homework.” Another thing that is absolutely crucial is to never describe a child as “gifted” to their face, unless they are a genuine prodigy. I’ve lost count of the amount of times I’ve been called “gifted”. And why? Because I can spell long words? Fuck that.

I’m not saying that being intelligent is a bad thing. In fact, it is a desirable quality that will take you far in life. I’m saying that most intelligent people know they are intelligent. They don’t need every damn person constantly reinforcing it. It’s unhealthy. It lays the foundation for a life of constant disappointment, and can lead a person to believe that everything important in life can be found in a book. The thing about knowledge is that you can easily acquire it, but you can’t just lose it, the way you just forget where you left your keys. You’re going to need some brain damage before that happens. There is no Eternal Sunshine of the Spotless Mind erasure process that rids your brain of facts. So, people have told me I’m smart my whole life, and it’s difficult for me to just abandon that reputation, because that reputation is tied to the knowledge in my head.

I end this piece with a plea to people who personally know me. My reputation as “the intelligent one” has burdened me my entire life. Whenever I have spoken to you, it has been in the back of my mind. If you speak to me next week, it will still be in the back of my mind. I hope this revelatory post doesn’t change your opinion of me (unless it’s for the better). I have always been this person. This is just the first time I’ve opened up about it. I hope it’s provided some comfort to people in a similar position.

I think this clip from Good Will Hunting is a relevant one to end on. This, my dear friends, is what true knowledge is all about: