The Movie Review and Discussion Thread

[Lepidopterous]

Antichrist

That's what fear is: thoughts distort reality. Not the other way around.

Antichrist is one of the most purely evil films I have ever seen. Somebody cracked half a smile in the entire film and it felt like comic relief. I do find

[Show spoiler]religious interpretations of the devil more frightening,

but the fact that this film does not even acknowledge God is disturbing.

Charlotte Gainsbourg is phenomenal here and completely loses herself in the role. Willem Dafoe does a great job infusing the film with humanity and keeping us grounded with his patience. His character’s therapy and consolation efforts seem more like

[Show spoiler]an exorcism

in retrospect.

Eroticism and graphic elements pervade throughout the film. I am not a fan of torture porn because it is a cheap way for the director to get a reaction. However, Antichrist is a visually-driven film and although littered with pointless nudity, the bulk of disturbing images are saved for the climax. In a way, the grueling build-up justifies the film's polarizing grotesque turn.

I have not picked up much “offensive” symbolism, though I am sure it is there. Misogyny is a prevalent theme, which is counterbalanced by Dafoe’s reason. The symbolism can be overt and in-your-face (ex:

[Show spoiler]three beggar manifestations

), but if you let the movie flow, it plays out like a descending nightmare. I liked how they handled the “reveal”

[Show spoiler]of the mother having witnessed her son’s fall.

It is treated in such a way that it should not really be a surprise by that point.

Lars Von Trier is a talented artist. His visual distortions, subtle camera shaking, desaturated palette, use of sounds over music, and consistently thick atmosphere (

[Show spoiler]strong sense of isolation—we really feel alone in the woods

) come together to construct a relentless experience. It's impossible for me to enjoy this much evil, but Antichrist is well done. This film is like a gate to hell.

4/5

[KingRad]

Skyfall - 5/5


This is my favorite Bond film of all time, and after re-watching the film, it's even better than the first time I watched it. Silva is one of the best, if not the best Bond villain of all time. He has so much emotion behind his motives, and Javier Bardem is phenomenal. The movie is phenomenally paced, it never feels like it's nearly a 2.5 hour movie.

[jvince]

La jetée (english subtitles) - YouTube

La Jetée (1962)
dir. Chris Marker

The Good: Unique style of filmmaking; composed almost entirely of stills. Superb photography. Fascinating concept. Spine-chilling choral music. Excellent sound effects. That one moment in the middle never fails to freak me out for some reason; one of my favorite cinematic sequences ever.

The Bad: Time travel's a little wonky. Could've been a bit shorter.

The Bottom Line: Strange yet beautiful. Haunting and one-of-a-kind. Chris Marker's La Jetée is a must-see for every film lover out there.

[Abdrewes]

Originally Posted by DjMethod

Antichrist

That's what fear is: thoughts distort reality. Not the other way around.

Antichrist is one of the most purely evil films I have ever seen. Somebody cracked half a smile in the entire film and it felt like comic relief. I do find

[Show spoiler]religious interpretations of the devil more frightening,

but the fact that this film does not even acknowledge God is disturbing.

Charlotte Gainsbourg is phenomenal here and completely loses herself in the role. Willem Dafoe does a great job infusing the film with humanity and keeping us grounded with his patience. His character’s therapy and consolation efforts seem more like

[Show spoiler]an exorcism

in retrospect.

Eroticism and graphic elements pervade throughout the film. I am not a fan of torture porn because it is a cheap way for the director to get a reaction. However, Antichrist is a visually-driven film and although littered with pointless nudity, the bulk of disturbing images are saved for the climax. In a way, the grueling build-up justifies the film's polarizing grotesque turn.

I have not picked up much “offensive” symbolism, though I am sure it is there. Misogyny is a prevalent theme, which is counterbalanced by Dafoe’s reason. The symbolism can be overt and in-your-face (ex:

[Show spoiler]three beggar manifestations

), but if you let the movie flow, it plays out like a descending nightmare. I liked how they handled the “reveal”

[Show spoiler]of the mother having witnessed her son’s fall.

It is treated in such a way that it should not really be a surprise by that point.

Lars Von Trier is a talented artist. His visual distortions, subtle camera shaking, desaturated palette, use of sounds over music, and consistently thick atmosphere (

[Show spoiler]strong sense of isolation—we really feel alone in the woods

) come together to construct a relentless experience. It's impossible for me to enjoy this much evil, but Antichrist is well done. This film is like a gate to hell.

4/5

"The film is like a gate to hell"

I'd go a step further, Von Trier seems to suggest Hell and a Godless world in which we live in. Charlotte Gainsborough and Willem Dafoe struggle to make amends of this fact as nihilism and despair roots itself. It's one of the most pained expressions of loneliness and helplessness I've ever seen. Chiefly because Von Trier has created a fully fleshed, meticulously designed universe in ways similar to James Cameron's Avatar. Whereas Cameron's film is drenched in naivety and romantic gestures, Von Triers is filled with grotesquery and sorrow.

[Steve46]

The Kid with a Bike (2011)
Drama, 87 minutes, French Language
Directed by Jean-Pierre and Luc Dardenne
Starring Thomas Doret and Cécile De France

It seems that the best films about human nature, or real topics that actually matter, are made outside the Hollywood system. I suppose anguish and inner turmoil doesn't translate into an exciting viewing experience, or one that will encourage people to pay to see the film. I understand that equation, and it makes me respect filmmakers who attempt to bring to life these rarely shown topics.

The Kid with a Bike is one such film. It sits on the top row of my movie collection right next to Kes, and that's so appropriate. Both films are about childhood, and boys who do not have a loving family environment. Incidentally, both were made in Europe.

The title reminds me of The Bicycle Thief, and I found that to be one of the most touching and realistic portrayals of a father/son relationship. The Kid with a Bike is touching in a different way.

This review contains spoilers, and reveals a similar amount of information as the trailer. If you don't want to know anything else about the story, please stop reading now.

[Show spoiler]The film is about 11-year-old Cyril Catoul (Thomas Doret), who lives in a children's home. His mother isn't mentioned at any point in the story, and his father has abandoned him. The opening scenes show Cyril trying to come to terms with his situation. He doesn't believe that his father wouldn't want him, or that he would move out of his apartment without telling Cyril where he was going. Cyril is angry and aggressive, and only calms down a little when he's shown that his father's old apartment is truly empty.

During his struggles, he grabs hold of a woman. She's Samantha (Cécile De France), and wants to help. She locates the man who bought Cyril's bike from his father, and buys it back for him. He refuses to accept that his father would sell it, insisting that it must have been stolen. He barely remembers to thank Samantha for her kindness, but races after her and asks if he can stay with her on the weekends. She says that she will call the home and try to arrange it.

Cécile De France is not a stunning beauty, but she's an incredibly warm actress. If you saw her performance in Hereafter, you'll know what I mean. She has a way of making you believe that she is intelligent, sensitive, thoughtful, and caring. This ability makes her an excellent choice for the role. We are never told why Samantha lives alone, but it partly explains why she might find it important to help Cyril. Is she looking for the kind of love that a child might offer, or does she merely empathize with his plight, and is hoping to give him the kind of love that she didn't have as a child?

Cyril is hard to like for much of the film. He's often angry, deeply mistrustful of adults, and disobedient when he doesn't get exactly what he wants. Samantha manages to arrange a meeting with his father, and Cyril finally learns some difficult truths about the man. I connected with this part of the film because I never knew my own father. Luckily, I grew up in a loving environment with my mother and grandparents. My experiences helped me to understand anger, and the need to be as independent as possible. Cyril doesn't trust adults because he can't be sure they will be there for him when it matters.

One boy in the neighborhood is keen to befriend him, but Cyril is more drawn to an older boy who is suspected of dealing drugs. He's seemingly kind to Cyril, but we know that he's simply trying to gain trust, and that his true motives haven't yet been revealed. It works to some degree because Cyril responds to actions rather than promises.

This is a film about decisions. What are Samantha's reasons for trying to help him? What does his father really want? Should Cyril keep hoping for love that he may never have from his father, or settle for the love that is being offered by Samantha? Will he ever control his anger and become worthy of anyone's love?

The Dardenne brothers ask a lot of questions and provide very few answers, but the closing scene suggests that Cyril has learned something about life, and that his future might not be as bleak as his current existence.

The Criterion package is superb, and comes with a booklet, a great transfer, and more than two hours of special features. If you are interested in the Dardenne brothers, one interview lasts 74 minutes and reveals a lot about their methods.

The Kid with a Bike is not an easy film to watch, and the payoff is implied rather than shown. However, it's a strong, realistic portrayal of childhood, and the performances do it justice. If you like to contemplate life, it's worth your time.

Overall score 4.5/5

[IronWaffle]

Originally Posted by Steve46

The Kid with a Bike (2011)
Drama, 87 minutes, French Language
Directed by Jean-Pierre and Luc Dardenne
Starring Thomas Doret and Cécile De France

It seems that the best films about human nature, or real topics that actually matter, are made outside the Hollywood system. I suppose anguish and inner turmoil doesn't translate into an exciting viewing experience, or one that will encourage people to pay to see the film. I understand that equation, and it makes me respect filmmakers who attempt to bring to life these rarely shown topics.

The Kid with a Bike is one such film. It sits on the top row of my movie collection right next to Kes, and that's so appropriate. Both films are about childhood, and boys who do not have a loving family environment. Incidentally, both were made in Europe.

The title reminds me of The Bicycle Thief, and I found that to be one of the most touching and realistic portrayals of a father/son relationship. The Kid with a Bike is touching in a different way.

This review contains spoilers, and reveals a similar amount of information as the trailer. If you don't want to know anything else about the story, please stop reading now.

[Show spoiler]The film is about 11-year-old Cyril Catoul (Thomas Doret), who lives in a children's home. His mother isn't mentioned at any point in the story, and his father has abandoned him. The opening scenes show Cyril trying to come to terms with his situation. He doesn't believe that his father wouldn't want him, or that he would move out of his apartment without telling Cyril where he was going. Cyril is angry and aggressive, and only calms down a little when he's shown that his father's old apartment is truly empty.

During his struggles, he grabs hold of a woman. She's Samantha (Cécile De France), and wants to help. She locates the man who bought Cyril's bike from his father, and buys it back for him. He refuses to accept that his father would sell it, insisting that it must have been stolen. He barely remembers to thank Samantha for her kindness, but races after her and asks if he can stay with her on the weekends. She says that she will call the home and try to arrange it.

Cécile De France is not a stunning beauty, but she's an incredibly warm actress. If you saw her performance in Hereafter, you'll know what I mean. She has a way of making you believe that she is intelligent, sensitive, thoughtful, and caring. This ability makes her an excellent choice for the role. We are never told why Samantha lives alone, but it partly explains why she might find it important to help Cyril. Is she looking for the kind of love that a child might offer, or does she merely empathize with his plight, and is hoping to give him the kind of love that she didn't have as a child?

Cyril is hard to like for much of the film. He's often angry, deeply mistrustful of adults, and disobedient when he doesn't get exactly what he wants. Samantha manages to arrange a meeting with his father, and Cyril finally learns some difficult truths about the man. I connected with this part of the film because I never knew my own father. Luckily, I grew up in a loving environment with my mother and grandparents. My experiences helped me to understand anger, and the need to be as independent as possible. Cyril doesn't trust adults because he can't be sure they will be there for him when it matters.

One boy in the neighborhood is keen to befriend him, but Cyril is more drawn to an older boy who is suspected of dealing drugs. He's seemingly kind to Cyril, but we know that he's simply trying to gain trust, and that his true motives haven't yet been revealed. It works to some degree because Cyril responds to actions rather than promises.

This is a film about decisions. What are Samantha's reasons for trying to help him? What does his father really want? Should Cyril keep hoping for love that he may never have from his father, or settle for the love that is being offered by Samantha? Will he ever control his anger and become worthy of anyone's love?

The Dardenne brothers ask a lot of questions and provide very few answers, but the closing scene suggests that Cyril has learned something about life, and that his future might not be as bleak as his current existence.

The Criterion package is superb, and comes with a booklet, a great transfer, and more than two hours of special features. If you are interested in the Dardenne brothers, one interview lasts 74 minutes and reveals a lot about their methods.

The Kid with a Bike is not an easy film to watch, and the payoff is implied rather than shown. However, it's a strong, realistic portrayal of childhood, and the performances do it justice. If you like to contemplate life, it's worth your time.

Overall score 4.5/5

While not perfect, this was my favorite film of 2012 (and my first Dardennes film).

I was already looking forward to Criterion's release, but a 74 minute interview bumps it up on my wishlist.

[Steve46]

Originally Posted by IronWaffle

While not perfect, this was my favorite film of 2012 (and my first Dardennes film).

I was already looking forward to Criterion's release, but a 74 minute interview bumps it up on my wishlist.

Yep, it's a nice package.

[legendarymatt92]

Originally Posted by jvince

The Man Who Planted Trees ( L'homme qui plantait des arbres ) - YouTube

The Man Who Planted Trees (1988)
dir. Frédéric Back

The Good: Top-notch storytelling. Inspiring. Christopher Plummer is the man, and Frédéric Back is an animation god for creating such an unparalleled work of art. Goosebump-inducing musical score. Great sound effects. High replay value, especially if you appreciate gorgeous animations.

The Bad: None.

The Bottom Line: Without a doubt, one of the finest animated films ever made, Frédéric Back's The Man Who Planted Trees is just mind-blowing, jaws-on-the-floor flawlessness. Watch it. Now.

This is probably the greatest short film I've ever seen. I watched it three times in a row, and each time was as deep and meaningful as the last. I love Christopher Plummer's voice-over and the way the animation accentuates the simplicity of the story. Thank you so much for sharing this undeniable gem.

Originally Posted by Abdrewes

"The film is like a gate to hell"

I'd go a step further, Von Trier seems to suggest Hell and a Godless world in which we live in. Charlotte Gainsborough and Willem Dafoe struggle to make amends of this fact as nihilism and despair roots itself. It's one of the most pained expressions of loneliness and helplessness I've ever seen. Chiefly because Von Trier has created a fully fleshed, meticulously designed universe in ways similar to James Cameron's Avatar. Whereas Cameron's film is drenched in naivety and romantic gestures, Von Triers is filled with grotesquery and sorrow.

I'm glad people liked it, and actually took something from it. I thought it was a pretentious piece of drivel that depended upon ambiguous meaning and explicit images too much. There was a basic story at its heart, but Von Trier, in my opinion, ignored it in favour of making something "arty" and transcending the genre it was rooted in.

I will agree with djMethod in that the atmosphere he crafts is beautiful, and that the world is completely realised and believable, as you said. It was the characters and their actions that were badly written.

[Abdrewes]

Originally Posted by legendarymatt92

This is probably the greatest short film I've ever seen. I watched it three times in a row, and each time was as deep and meaningful as the last. I love Christopher Plummer's voice-over and the way the animation accentuates the simplicity of the story. Thank you so much for sharing this undeniable gem.



I'm glad people liked it, and actually took something from it. I thought it was a pretentious piece of drivel that depended upon ambiguous meaning and explicit images too much. There was a basic story at its heart, but Von Trier, in my opinion, ignored it in favour of making something "arty" and transcending the genre it was rooted in.

I will agree with djMethod in that the atmosphere he crafts is beautiful, and that the world is completely realised and believable, as you said. It was the characters and their actions that were badly written.

I'm not sure as to whether it's a total success, but I cant deny that Von Trier successfully gave the world a glimpse of his pain. I'm scared to revisit it and deem it even more portentous. It's certainly indulgent and I feel it unnecessarily dives into shlock in the last ten minutes, but for a good hour of feeling, I commend it.

"chaos reigns"

I will defend Dancer in the Dark, Breaking the Waves and Melancholia to my last breath, though.

[legendarymatt92]

Originally Posted by Abdrewes

I'm not sure as to whether it's a total success, but I cant deny that Von Trier successfully gave the world a glimpse of his pain. I'm scared to revisit it and deem it even more portentous. It's certainly indulgent and I feel it unnecessarily dives into shlock in the last ten minutes, but for a good hour of feeling, I commend it.

"chaos reigns"

I will defend Dancer in the Dark, Breaking the Waves and Melancholia to my last breath, though.

Dancer in the Dark and Melancholia are masterpieces (I have not seen Breaking the Waves so I cannot comment). There's no denying their resonance. I agree with Kim Newman on Antichrist in that it is one of the most original horror films of the decade, but not necessarily for the right reasons. I think Von Trier got so caught up in writing his own story, explaining his own depression and emotion, that it became more important to him than anything else, and the cracks appear in the narrative because of that.

[CoolRanch]

Watched Apocalypse Now for the first time a couple nights ago and it blew me away! It is now one of my favorite movies of all time, though its position on my list depends upon repeat viewings. This movie is a journey into madness and was so good that it scared me, and any movie that can do that is a masterpiece in my books. I do have a question though,

[Show spoiler]did they actually slaughter that cow or was it a fake?

[Lepidopterous]

Originally Posted by Abdrewes

"The film is like a gate to hell"

I'd go a step further, Von Trier seems to suggest Hell and a Godless world in which we live in. Charlotte Gainsborough and Willem Dafoe struggle to make amends of this fact as nihilism and despair roots itself. It's one of the most pained expressions of loneliness and helplessness I've ever seen. Chiefly because Von Trier has created a fully fleshed, meticulously designed universe in ways similar to James Cameron's Avatar. Whereas Cameron's film is drenched in naivety and romantic gestures, Von Triers is filled with grotesquery and sorrow.

It is fully realized and I think that adds to the film's disturbance. I was transported so far into this "hell" that I didn't even consider the possibility of the characters seeking outside help during the final sequence.

Originally Posted by legendarymatt92

I will agree with djMethod in that the atmosphere he crafts is beautiful, and that the world is completely realised and believable, as you said. It was the characters and their actions that were badly written.

Him or her? I thought both were consistent and well written. The only thing in the film that didn't make sense to me was

[Show spoiler]the bodies.

Originally Posted by legendarymatt92

Dancer in the Dark and Melancholia are masterpieces (I have not seen Breaking the Waves so I cannot comment). There's no denying their resonance. I agree with Kim Newman on Antichrist in that it is one of the most original horror films of the decade, but not necessarily for the right reasons. I think Von Trier got so caught up in writing his own story, explaining his own depression and emotion, that it became more important to him than anything else, and the cracks appear in the narrative because of that.

I think Antichrist's biggest strength is Charlotte Gainsbourg. I'm just going to go ahead and say it... she deserves Sandra Bullock's Oscar.

[Lepidopterous]

I finally watched Kieslowski's Three Colors trilogy on blu over the weekend.

Blue 4.5/5
White 4/5
Red 5/5

Three Colors: Red has to be one of my absolute favorite films, not only of the trilogy but of all time. The narrative is a kind of cross between Lost in Translation and The Lives of Others. I loved every second of it.

[Lepidopterous]

Vince, I forgot to say thanks for posting The Red Balloon last week. It sent waves of nostalgia down my spine.

[Lepidopterous]

In light of all these shorts, thought I'd share one of my favorite animated shorts growing up. A Chuck Jones short narrated by Orson Welles - Rikki-Tikki Tavi. It's pretty dark for kids (

[Show spoiler]"Here's a dead mongoose! Let's have a funeral!" )

and the cobras gave me nightmares. Enjoy!

Rikki Tikki Tavi - YouTube

[Abdrewes]

Originally Posted by DjMethod

I finally watched Kieslowski's Three Colors trilogy on blu over the weekend.

Blue 4.5/5
White 4/5
Red 5/5

Three Colors: Red has to be one of my absolute favorite films, not only of the trilogy but of all time. The narrative is a kind of cross between Lost in Translation and The Lives of Others. I loved every second of it.

Amazing films I especially like Blue. It's an exceptional meditation on loss, faith and making ammends with what's left. Have you seen Double Life of Veronique yet?

[Lepidopterous]

Originally Posted by Abdrewes

Amazing films I especially like Blue. It's an exceptional meditation on loss, faith and making ammends with what's left. Have you seen Double Life of Veronique yet?

Many times It cracked my top 100 and is the reason I was so comfortable blind-buying the trilogy.

All three were wonderful and I love how they are subtly interconnected. Binoche gave a great emotionally withdrawn performance in Blue. I also enjoyed seeing Emmanuelle Riva and Jean-Louis Trintignant.

My favorite part of each film:

Blue:

[Show spoiler]When she catches up to Olivier's car and confronts him about the music. The whole movie clicked for me after that.

White:

[Show spoiler]When Karol pretends to be a ghost to his ex-wife. That whole scene is so fulfilling and erotic.

Red:

[Show spoiler]Their discussion in the dark. Such an intimate (almost confessional) moment between two strangers.

Only drops in the ocean in a trilogy that is filled with brilliant scenes and direction.

[volcomsocal]

Alien - 1979

First time seeing it. Thought it was OK. IMO, Prometheus was better.

2.5/5








here comes the hate...........

[Lepidopterous]

Melancholia

Jeez, Lars, let some of your characters be happy.

If Darren Aronofsky directed Malick's The Tree of Life, we'd get something like Melancholia. The film presents a constant duality of life's immediate issues vs. the bigger picture of life on earth. Yet, like in Antichrist, we feel isolated. The only real connection to the rest of the world is in a brief internet search. This darkens the mood and reflects humanity's loneliness in the universe. The sense of impending doom fills the screen like an elephant in the room, but instead of going Deep Impact with the premise, Von Trier forgoes the "panic" stage so we can contemplate our existence.

The film is particularly devoid of emotion. If any is ever present, it is an overwhelming amount of pessimism. Even the smallest and most naive child in the film couldn't enjoy his pancakes. And for a film about humanity, it seems to ignore our inherent will to live, ridicule any budding spirituality, and reward a depressed pessimist with the gift of enlightenment. However, the chosen backdrop of a wedding is a brilliant clash with Justine's depression. She cannot find a way to be happy on what is supposed to be the happiest day of her life. It is an ideal setting for the theme of the film: pointlessness.

Lars Von Trier captures extraordinary (if a tad vague) cinematography, minimal dialogue, and a magnificient performance by Dunst that left me weak at the knees. Her behavior is not self-destructive, but simply apathetic, which is a feeling we can all relate to. Melancholia is a draining, thought-provoking, and visually striking experience. But above all, it is a meditation.

4.5/5

[Al_The_Strange]

Clue

Based on the board game, Clue is a quaint little whodunit-style comedy; one of a very few, the only other good contender I know of being Murder By Death. As you can surmise, the Clue film draws in several characters who come across a murdered body, then spend the rest of the film roaming the house, trying to figure out the mystery. Just like the board game.

The film starts off a little stiff and dry, but gradually builds comedic momentum. There are a few funny scenes in the opening act, but by the film's end, it becomes a rolling onslaught of pratfalls, slapstick, and hilarious dialogue. The biggest standout might be the ending(s), in which the butler (played perfectly by Tim Curry) runs amok, spewing the whole explanation of what happens in the most lively manner possible. In between the dry beginning and the slappy ending, the film has its share of moments in between, and remains consistently entertaining without getting overly-silly (not the way Murder By Death seems to, anyway).

Admittedly, the plot for this film is pretty thin. Coming from a board game, perhaps that's to be expected. In order to layer on the mystery element, the film never really gets all that deep with its characters, but instead tacks on a huge helping of political intruige and connections that can be a strain to understand. In fact, I'm certain that the film has plot holes, if you look deeply into it (chief among them,

[Show spoiler]if the butler was Mr. Boddy the whole time, why did the other Mr. Boddy act the way he did in the film's beginning? Are we to believe it was all truly an act? Seems like a stretch to me

). Regardless, it can be fun to try and figure out the plot, and to try and figure out who could have done what before one of the film's three possible endings comes up.

The film has some rather plain photography and editing. Acting and writing are quite fun. This production makes use of some rather simple, plain-looking sets, props, and costumes. Music is strangely catchy.

4/5 (Entertainment: Good | Story: Average | Film: Good)

Recommendation: Sure, why not?

Even though I have this on Blu-Ray now, I had to watch my DVD copy since I was on the road this weekend.