This film is a Danish western, set in the western part of Denmark. It is a quite brilliant modern story that makes clever references to classic Westerns of Anthony Mann, John Ford and Howard Hawks. It is clearly visually inspired by David Lynch and the Coen Brothers, but has its own interesting style that makes it appear to be totally fresh and original.
Robert is a big city cop who is being disciplined after a big screw up. He's sent to a godforsaken town at the edge or civilization to become the new sheriff. This unusual town has only a few dozen residents, a doctor, a grocer, a pastor, a hair dresser and, of course, a bar. All of these people are dominated by Jorgen, the town tough who wears a cowboy hat, rules with an iron fist (almost literally) and takes care of people who get out of line. The fate of most who cross him is the bog outside of town where people can be disappeared in the mud without any evidence.
As Robert learns his way around and learns the politics of unusual town, he meets Ingerlise, Jorgen's wife and live-in punching bag. She's frustrated with her life and interested by Robert and seeks help from him for her situation. Little does he know that trying to help this sad woman will lead him deeper in the madness of this town, where everyone knows everyone's business and knows the rules that govern the place.
Writer/director Henrik Ruben Genz does a wonderful job of weaving a story that's familiar enough to recognize classic western threads (like the new sheriff in town meeting the old thug or the town doc who knows everyone's secrets but can't do anything about it, or the complicity of the townsfolk in the misery of others who sit back and judge from afar) but makes them contemporary enough to make them interesting. He uses a wonderful style with mostly static shots, beautifully filled up frames and amazing color to make what seems like a bleak setting come alive. The townspeople are always sweaty (and filthy) despite the bitter cold outside.
The photography by Jorgen Johansson looks a lot like the work that Roger Deakins has done for the Coen brothers, particularly for films like A Serious Man and Fargo; the music by Kaare Bjerko is a simple minimalist guitar and feels a lot like music Carter Burwell has written for them as well. Overall the style is gentle and peaveful, which belies the grime and violence the is at the heart of the town.
Jakob Cedergren is wonderful as Robert and is a perfect proxy for us. He's clearly a trouble man trying to escape his past - as much he's being sent to this place as punishment. He seems to have a good heart and is always doing things by the book (and even saying exactly that as he does those things). He's as mystified by the people and things he sees as we are and he responds in mostly sensible ways the way we might respond in a similar situation.
Of course the problem is that doing things by the police book is not the same thing as doing things by the book according to this town and these people. Henry Fonda's Wyatt Earp from My Darling Clementine or Clint Eastwood's Stranger in High Plains Drifter come to mind as we see Robert, an outsider, come to put some sense in this town that doesn't really want him.
Stars: 3.5 of 4
5 Şubat 2010 Cuma
MEL GIBSON FİLMLERİ - İNTİKAM PEŞİNDE
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Oyuncular: Mel Gibson , Ray Winstone , Shawn Roberts , Danny Huston , caterina scorsone
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Oyuncular: Mel Gibson , Ray Winstone , Shawn Roberts , Danny Huston , caterina scorsone
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4 Şubat 2010 Perşembe
Ajami (Thursday, February 4, 2010) (9)
Ajami is an Israeli film that was nominated for Best Foreign Language film in this year's Oscars. It tells a few stories of people in a multi-religious slum in Tel Aviv. There is a part about a poor Muslim family who has to pay a debt to a Muslim organized crime element, a Christian family whose daughter wants to marry a man outside of the faith and a Jewish soldier who went missing while on a military mission. The stories are all intertwined, sometimes a bit too cutely, and the structure jumps back and forth between these stories and others as well.
Much of the press surrounding the film has dealt with the interesting production, which was co-directed by a Jewish (Yaron Shani) and Palestinian (Scandar Copti) duo. The actors are mostly amateurs with no experience and it was shot mostly in the places where it takes place (The title of the film comes from a neighborhood in Tel Aviv-Jaffa).
I was not thrilled with this film as I felt it was just too much stuff - too confusing, unfocused and less powerful than it could have been with a more specific story. We never spend enough time with any one character or story for long enough to align with anyone. It jumps so much that we lose interest in each part as it moves along.
There are certainly interesting moments in the story (like the concept of organized crime in the Palestinian world or the Christian minority in Israel), but these bits are watered-down to the point that they have much less impact than they should. I don't get sentimental about Israel-Palestinian relations - and I think this film is not much without the romantic and political elements behind the scenes of this film.
Stars: 1.5 of 4 stars
Much of the press surrounding the film has dealt with the interesting production, which was co-directed by a Jewish (Yaron Shani) and Palestinian (Scandar Copti) duo. The actors are mostly amateurs with no experience and it was shot mostly in the places where it takes place (The title of the film comes from a neighborhood in Tel Aviv-Jaffa).
I was not thrilled with this film as I felt it was just too much stuff - too confusing, unfocused and less powerful than it could have been with a more specific story. We never spend enough time with any one character or story for long enough to align with anyone. It jumps so much that we lose interest in each part as it moves along.
There are certainly interesting moments in the story (like the concept of organized crime in the Palestinian world or the Christian minority in Israel), but these bits are watered-down to the point that they have much less impact than they should. I don't get sentimental about Israel-Palestinian relations - and I think this film is not much without the romantic and political elements behind the scenes of this film.
Stars: 1.5 of 4 stars
The Ballad Of Bad Blake
CRAZY HEART (Dir. Scott Cooper, 2009)
Early this week Jeff Bridges scored his fifth Oscar nomination for his role as Bad Blake, a crusty Kris Kristopherson-ish country music artist on the comeback circuit. Surprisingly, at least to me, not one of those nominations was for “The Dude” – the iconic Coen Brothers character in THE BIG LEBOWSKI that completely reshaped Bridges’ career despite the fact that he had done much major work in the 30 years before that.
When Bad Blake shows up to perform at a dive bowling alley early in CRAZY HEART, one can’t help but sense the shadow of “The Dude.”
It’s felt again when Blake fishes his sunglasses out of a trash can he just puked in, and then there’s the way he passes out when he’s inebriated – yep, there’s a man for his time and place.
But make no mistake - Bad Blake is not “The Dude.”
He’s played by the same scruffy aging actor, sure, but Blake is not a comical creation. He’s a hybrid of country music clichés that somehow become a living breathing believable entity – a singer songwriter trapped in one of his own hurting heart songs. He lives gig to gig, bottle to bottle, groupie to groupie, etc.
Maggie Gyllenhall also picked up an Academy Award nomination with her fine though transparent part as a journalist doing a story on Blake. She has a kid (Jack Nation) which the grizzled journeyman bonds with on a morning after the mismatched pair sleep together. Gyllenhall knows Blake is bad for her, but she’s touched by his affection and the idea that he writes songs in her presence.
If you want to go the Western route in this synopsis you could say that as an old guitar slinger Blake has to contend with a young hot kid on the scene; a Keith Urban-esque former protégé played by Colin Farrell. Farrell’s handles his role with aplomb (he provides his own vocals like Bridges) and it’s nice that he doesn’t turn out to be a cutthroat adversary – that would’ve been way too predictable. Sadly, way too predictable describes the rest of the narrative arc.
Nothing happens in CRAZY HEART that you wouldn’t expect with this material. Every element is measured out in a sensible quantity and every set piece falls into its predetermined place, yet the film has a raw appeal. That credit goes completely to Bridges.
Whether character actor or unlikely leading man, Bridges has a charisma that goes deeper than just “The Dude” abiding. His smiling eyes light up his face even when his mouth is agape in a hopeless expression of not quite processing what’s just happened in front of him. When Gyllenhall comes to her senses about having Bad Blake in her life and tells him not to come around anymore, the look on his face alone should win him the Oscar.
Robert Duvall shows up seemingly to remind us of the similar character he played in TENDER MERCIES. Duvall, who seems to be living cameo to cameo these days (see THE ROAD), is a father figure to Blake and has one of the film’s best moments singing a sweet acapella version of Billy Ray Shaver’s “Live Forever” in a tranquil fishing scene.
That’s where the movie really soars - music-wise. T. Bone Burnett, along with Ryan Bingham and Stephen Bruton (a former Kristopherson band mate who died last year) crafted an authentic batch of songs that often made me forget the film’s story shortcomings.
There's also well chosen songs like Waylon Jennings' obvious but apt "Are You Sure Hank Done It This Way" and Townes Van Zandt's "If I Needed Someone" to round out the mix. Maybe it’s a great soundtrack in search of a great film which doesn’t quite materialize, but it’s a sturdy set however you cut it.
So, CRAZY HEART or, as I call it, "The Ballad Of Bad Blake", contains an Oscar worthy performance, good songs, and an incredibly predictable yet still endearing premise. I can abide with that.
More later...
Early this week Jeff Bridges scored his fifth Oscar nomination for his role as Bad Blake, a crusty Kris Kristopherson-ish country music artist on the comeback circuit. Surprisingly, at least to me, not one of those nominations was for “The Dude” – the iconic Coen Brothers character in THE BIG LEBOWSKI that completely reshaped Bridges’ career despite the fact that he had done much major work in the 30 years before that.
When Bad Blake shows up to perform at a dive bowling alley early in CRAZY HEART, one can’t help but sense the shadow of “The Dude.”
It’s felt again when Blake fishes his sunglasses out of a trash can he just puked in, and then there’s the way he passes out when he’s inebriated – yep, there’s a man for his time and place.
But make no mistake - Bad Blake is not “The Dude.”
He’s played by the same scruffy aging actor, sure, but Blake is not a comical creation. He’s a hybrid of country music clichés that somehow become a living breathing believable entity – a singer songwriter trapped in one of his own hurting heart songs. He lives gig to gig, bottle to bottle, groupie to groupie, etc.
Maggie Gyllenhall also picked up an Academy Award nomination with her fine though transparent part as a journalist doing a story on Blake. She has a kid (Jack Nation) which the grizzled journeyman bonds with on a morning after the mismatched pair sleep together. Gyllenhall knows Blake is bad for her, but she’s touched by his affection and the idea that he writes songs in her presence.
If you want to go the Western route in this synopsis you could say that as an old guitar slinger Blake has to contend with a young hot kid on the scene; a Keith Urban-esque former protégé played by Colin Farrell. Farrell’s handles his role with aplomb (he provides his own vocals like Bridges) and it’s nice that he doesn’t turn out to be a cutthroat adversary – that would’ve been way too predictable. Sadly, way too predictable describes the rest of the narrative arc.
Nothing happens in CRAZY HEART that you wouldn’t expect with this material. Every element is measured out in a sensible quantity and every set piece falls into its predetermined place, yet the film has a raw appeal. That credit goes completely to Bridges.
Whether character actor or unlikely leading man, Bridges has a charisma that goes deeper than just “The Dude” abiding. His smiling eyes light up his face even when his mouth is agape in a hopeless expression of not quite processing what’s just happened in front of him. When Gyllenhall comes to her senses about having Bad Blake in her life and tells him not to come around anymore, the look on his face alone should win him the Oscar.
Robert Duvall shows up seemingly to remind us of the similar character he played in TENDER MERCIES. Duvall, who seems to be living cameo to cameo these days (see THE ROAD), is a father figure to Blake and has one of the film’s best moments singing a sweet acapella version of Billy Ray Shaver’s “Live Forever” in a tranquil fishing scene.
That’s where the movie really soars - music-wise. T. Bone Burnett, along with Ryan Bingham and Stephen Bruton (a former Kristopherson band mate who died last year) crafted an authentic batch of songs that often made me forget the film’s story shortcomings.
There's also well chosen songs like Waylon Jennings' obvious but apt "Are You Sure Hank Done It This Way" and Townes Van Zandt's "If I Needed Someone" to round out the mix. Maybe it’s a great soundtrack in search of a great film which doesn’t quite materialize, but it’s a sturdy set however you cut it.
So, CRAZY HEART or, as I call it, "The Ballad Of Bad Blake", contains an Oscar worthy performance, good songs, and an incredibly predictable yet still endearing premise. I can abide with that.
More later...
2 Şubat 2010 Salı
1 Şubat 2010 Pazartesi
The Film Babble Blog Top Ten Movies Of 2009
All this last month readers have been asking me for my top 10 movies of 2009. I've mentioned before that some major prestige films don't get to my area until late January or early February or later, and that's not considering many Foreign films that aren't released in these parts until months after the Oscars so it's usually a month or so into the year before I post my picks.
So since there's no way I'm going to catch up anytime soon and because tomorrow the Academy Award nominations are going to be announced, now is as good a time as any for my list for what I think was a great and diverse year for film:
1. A SERIOUS MAN (Dirs. Joen & Ethan Coen)
"The greatest films are the ones that leave you not able to explain, but you know that you have experienced something special. I've always had this feeling that the perfect response to a film or a piece of work of mine would be if someone got up and said, 'I don't know what it is, but it's right.'
That's the feeling you want - 'That's right' - and it comes from four or five layers down, it comes from the inside rather than from the outside." - Robert Altman
I've been plowing through the new book: "Robert Altman: The Oral Biography" since I got it for Christmas and I was struck by the quote above. It made me think of A SERIOUS MAN, though the latest Coen Brothers cinematic conundrum is anything but Altman-esque. With Michael Stuhlburg leading an equally unknown cast into the academic abyss of late 60's suburban Minneapolis, it's the Brothers' most personal work to date. Whether it's a post modern riff on the story of Job or a series of nonsensical jabs at everybody's existential expense, it's a perplexingly pleasing parable. Read my original review here.
2. UP (Dir. Pete Docter)
Last year the same #2 position on this list was held by a Pixar film (WALL-E) so I was tempted to go in another direction here. But, that would've been wrong because UP honestly deserves this space. The first 10 minutes alone deserve this space. This wonderful tale of Carl (voiced by Ed Asner) - a crotchety old widower who attaches thousands of balloons to his house in order to fly it to Paradise Falls in South Africa is a rambunctiously inventive and funny flight. And if you don't cry at that sweeping opening montage, either you have a heart of stone or you're Armond White. Read my original review here.
3. THE HURT LOCKER (Dir. Kathryn Bigelow)
Every explosion has an emotional impact in this gripping war drama featuring Jeremy Renner as a bomb defusing expert who'd rather risk his life in Iraq than be home with his wife. Read my original review here.
4. INGLOURIOUS BASTERDS (Dir. Quentin Tarantino)
This indulgent alternate history World War II film is possibly over-stuffed with story strands but as I said in my original review: "the pulse and tone of Tarantino's best work is intact." Read the rest of that review here.
5. BLACK DYNAMITE (Dir. Scott Sanders)
Though it was little seen, this is hands down the funniest film of 2009. Forget THE HANGOVER, this blaxploitation homage/satire/greatest hits has more laughs per minute and is sure to be one Helluva a future cult classic. Read more here.
6. THE FANTASTIC MR. FOX (Dir. Wes Anderson)
Wes Anderson's stylistic whimsy works wonders in this friendly, fuzzy, and ferociously witty film adaptation of Roald Dahl's beloved children's book. So does George Clooney's charm which I enjoyed more here than in a certain air-born live action film that is sure to get more acclaim awards wise.
7. BRIGHT STAR (Dir. Jane Campion) An unfortunately overlooked period piece centering on poet John Keats' (Ben Whishaw) doomed courtship of Fanny Brawne (Abbie Cornish). A beautifully moving work with first rate performances including a scene stealing Paul Schneider as Keats' writing partner Charles Armitage Brown. With hope the Academy will take notice. Read my original review here.
8. DISTRICT 9 (Dir. Neill Blomkamp) Without a doubt the most frighteningly original (and strikingly satirical) work of science fiction of the year. A misadventure in alien apartheid leaves a wet behind the ears field operative (Sharlto Copley) with his arm mutated to that of a "prawn" and he...oh, just go watch it. Read my original ravings here.
9. ANVIL! THE STORY OF ANVIL! (Dir. Sacha Gervasi)
This documentary about a Spinal Tap-ish band of aging Canadian heavy metal rockers may have you snickering at first but before you know it they win your heart over with their "never say die" determination. As I said in my original review: "Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it."
10. BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS (Dir. Werner Herzog) Speaking of "never say die", Nicholas Cage re-ignites the crazy edge of his persona in this twisted and surrealistic corrupt cop crime caper while he re-ignites his "lucky crack pipe" yelling "I'll kill all of you...to the break of dawn! To the break of dawn baby!" Read about more craziness and how this does and doesn't relate to Abel Ferrara's 1992 BAD LIEUTENANT here.
Spillover:
The ones that didn't quite make the Top Ten grade but were still good, sometimes great flicks - click on the title for my original review.
ZOMBIELAND (Dir. Ruben Fleisher)
THE ROAD (Dir. John Hillcoat)
A SINGLE MAN (Dir. Tom Ford)
WHERE THE WILD THINGS ARE (Dir. Spike Jonze)
AN EDUCATION (Dir. Lone Scherfig)
OBSERVE AND REPORT (Dir. Jody Hill)
BIG FAN (Dir. Robert Siegel)
(500) DAYS OF SUMMER (Dir. Marc Webb)
MOON (Dir. Duncan Jones)
ABEL RAISES CAIN (Dirs. Jenny Abel & Jeff Hocket)
TWO LOVERS (Dir. James Gray)
I didn't write reviews of these but they are also strongly recommended:
SUMMER HOURS (Dir. Olivier Assayas)
GOODBYE SOLO (Dir. Ramin Bahrani)
WORLD'S GREATEST DAD (Dir. Bobcat Goldthwait)
More later...
So since there's no way I'm going to catch up anytime soon and because tomorrow the Academy Award nominations are going to be announced, now is as good a time as any for my list for what I think was a great and diverse year for film:
1. A SERIOUS MAN (Dirs. Joen & Ethan Coen)
"The greatest films are the ones that leave you not able to explain, but you know that you have experienced something special. I've always had this feeling that the perfect response to a film or a piece of work of mine would be if someone got up and said, 'I don't know what it is, but it's right.'
That's the feeling you want - 'That's right' - and it comes from four or five layers down, it comes from the inside rather than from the outside." - Robert Altman
I've been plowing through the new book: "Robert Altman: The Oral Biography" since I got it for Christmas and I was struck by the quote above. It made me think of A SERIOUS MAN, though the latest Coen Brothers cinematic conundrum is anything but Altman-esque. With Michael Stuhlburg leading an equally unknown cast into the academic abyss of late 60's suburban Minneapolis, it's the Brothers' most personal work to date. Whether it's a post modern riff on the story of Job or a series of nonsensical jabs at everybody's existential expense, it's a perplexingly pleasing parable. Read my original review here.
2. UP (Dir. Pete Docter)
Last year the same #2 position on this list was held by a Pixar film (WALL-E) so I was tempted to go in another direction here. But, that would've been wrong because UP honestly deserves this space. The first 10 minutes alone deserve this space. This wonderful tale of Carl (voiced by Ed Asner) - a crotchety old widower who attaches thousands of balloons to his house in order to fly it to Paradise Falls in South Africa is a rambunctiously inventive and funny flight. And if you don't cry at that sweeping opening montage, either you have a heart of stone or you're Armond White. Read my original review here.
3. THE HURT LOCKER (Dir. Kathryn Bigelow)
Every explosion has an emotional impact in this gripping war drama featuring Jeremy Renner as a bomb defusing expert who'd rather risk his life in Iraq than be home with his wife. Read my original review here.
4. INGLOURIOUS BASTERDS (Dir. Quentin Tarantino)
This indulgent alternate history World War II film is possibly over-stuffed with story strands but as I said in my original review: "the pulse and tone of Tarantino's best work is intact." Read the rest of that review here.
5. BLACK DYNAMITE (Dir. Scott Sanders)
Though it was little seen, this is hands down the funniest film of 2009. Forget THE HANGOVER, this blaxploitation homage/satire/greatest hits has more laughs per minute and is sure to be one Helluva a future cult classic. Read more here.
6. THE FANTASTIC MR. FOX (Dir. Wes Anderson)
Wes Anderson's stylistic whimsy works wonders in this friendly, fuzzy, and ferociously witty film adaptation of Roald Dahl's beloved children's book. So does George Clooney's charm which I enjoyed more here than in a certain air-born live action film that is sure to get more acclaim awards wise.
7. BRIGHT STAR (Dir. Jane Campion) An unfortunately overlooked period piece centering on poet John Keats' (Ben Whishaw) doomed courtship of Fanny Brawne (Abbie Cornish). A beautifully moving work with first rate performances including a scene stealing Paul Schneider as Keats' writing partner Charles Armitage Brown. With hope the Academy will take notice. Read my original review here.
8. DISTRICT 9 (Dir. Neill Blomkamp) Without a doubt the most frighteningly original (and strikingly satirical) work of science fiction of the year. A misadventure in alien apartheid leaves a wet behind the ears field operative (Sharlto Copley) with his arm mutated to that of a "prawn" and he...oh, just go watch it. Read my original ravings here.
9. ANVIL! THE STORY OF ANVIL! (Dir. Sacha Gervasi)
This documentary about a Spinal Tap-ish band of aging Canadian heavy metal rockers may have you snickering at first but before you know it they win your heart over with their "never say die" determination. As I said in my original review: "Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it."
10. BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS (Dir. Werner Herzog) Speaking of "never say die", Nicholas Cage re-ignites the crazy edge of his persona in this twisted and surrealistic corrupt cop crime caper while he re-ignites his "lucky crack pipe" yelling "I'll kill all of you...to the break of dawn! To the break of dawn baby!" Read about more craziness and how this does and doesn't relate to Abel Ferrara's 1992 BAD LIEUTENANT here.
Spillover:
The ones that didn't quite make the Top Ten grade but were still good, sometimes great flicks - click on the title for my original review.
ZOMBIELAND (Dir. Ruben Fleisher)
THE ROAD (Dir. John Hillcoat)
A SINGLE MAN (Dir. Tom Ford)
WHERE THE WILD THINGS ARE (Dir. Spike Jonze)
AN EDUCATION (Dir. Lone Scherfig)
OBSERVE AND REPORT (Dir. Jody Hill) BIG FAN (Dir. Robert Siegel)
(500) DAYS OF SUMMER (Dir. Marc Webb)
MOON (Dir. Duncan Jones)
ABEL RAISES CAIN (Dirs. Jenny Abel & Jeff Hocket)
TWO LOVERS (Dir. James Gray)
I didn't write reviews of these but they are also strongly recommended:
SUMMER HOURS (Dir. Olivier Assayas)
GOODBYE SOLO (Dir. Ramin Bahrani)
WORLD'S GREATEST DAD (Dir. Bobcat Goldthwait)
More later...
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http://rapidshare.com/files/336563556/couplescd1.cd190018_www.movieinfo.blog.com_.avi.html
http://rapidshare.com/files/336563557/couplescd2.cd277105_www.movieinfo.blog.com_.avi.html
or
http://www.mystream.to/file-10501712-57cc875e-couplescd2.cd277105_www.movieinfo.blog.com_.avi
http://www.mystream.to/file-10501708-d9b8a089-couplescd1.cd190018_www.movieinfo.blog.com_.avi
or
http://loombo.com/6728834u6ujh/couplescd1190018_www.movieinfo.blog.com_.avi.cd.html
http://loombo.com/adjs8spf6ggc/couplescd2277105_www.movieinfo.blog.com_.avi.cd.html
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