Cosmopolis (2012)

David Cronenberg, the master of shock and awe and the creative genius that gave his own unique twist to the body horror sub-genre is one of the finest directors of the twentieth century. The Fly was paranoia and fear at its most terrifying, Videodrome was a voyeuristic masterpiece and arguably my favourite entry into his extensive and incredibly consistent catalogue is Eastern Promises, a gangster epic that utilised its stunning cast and reaped all the benefits. Unfortunately, his follow up to Eastern Promises was A Dangerous Method, a film that I found a tad too dull and mostly ordinary, but admired his craftsmanship to always be trying new challenges. In 2012, he returned in the simplest terms to his ‘roots’. Cosmopolis, in its own right, is a challenging piece of his history, but despite the premise coming from a novel, you can clearly see the aspects of his older films he gained immense influence from.

Videodrome and Crash are the most notable influences for me. Both films feature sex, blood, lust, anger and a growing sense of neurotic discomfort throughout. Cosmopolis, in large, is a film much like those two, and without them, the stylistic presentation by Cronenberg would be absolutely different. Videodrome and Crash, two films that I deeply love are intense and highly demanding experiences for the regular viewer, both relying on shock and suspense at the same time to entertain and terrify the audience. Cronenberg’s unique talent is ever-present throughout this character study of an elusive, deranged and unstable mind.

The writing, more so in the early stages is imposing. To many, and me, it feels clotted and alienating as the feverish nature of the reality that Cronenberg creates does take its time to establish and find its footing. Once it has, however, the film turns into an annihilation of the senses. A true master class of emotion and translucid factuation between our protagonist and the souls he encounters along the way. Robert Pattinson takes on the role as the 28 year old tycoon, lounging around inside his limousine, encountering different characters from all areas of the world in certainly the finest performance of his thus far short career. I always considered his as somewhat of a ‘pretty face’ and not much else, but he delivers in Water For Elephants and Remember Me also, showing compassion and emotion in both those characters, despite their largely ordinary writing.

Cosmopolis’ cast isn’t particularly handled all that superbly, in all honesty. Juliette Binoche, one of the finest French actresses of all-time is wasted in her one scene. Samantha Morton plays a monotonous character and Mathieu Amalric appears out of nowhere. Fortunately, for movie fans, however, the superb Paul Giamatti is utilised in devastating fashion, standing out despite his small appearance in the finale of the film. Cosmopolis, overall, is a film that will frustrate many people and some of the hate is understandable, but like me, if the required patience is there, Cosmopolis is a film that should amaze and astound you throughout. Cinematic brilliance, and from who else but the incredible David Cronenberg?

86/100

Thief (1981)

Michael Mann, arguably one of the finest directors since the 80’s is one that I’ve always admired, whilst also never really classing him as a personal ‘favourite’ of sorts. Heat, probably the first film I’ve seen from Mann is an exceptional crime thriller with great style, ambition and a roll call of devastating talent, along with the intelligent and exciting The Insider truly cemented Mann’s talent for sharp, gritty thrillers with deep undertones heavily reliant on paranoia and insomnia. His 1981 debut (!) feature is just another entry in his wonderful catalogue, parallel to the brilliance of his 2004 release Collateral.

Thief centres on the life of Frank, played by the underrated James Caan, who is nothing more than a jewel thief. A man with nothing else on his mind but that final score to call it all quits, this is where Leo comes into play. Leo, a largely unlikeable and snobby older man has the ticket just for him. The story in simple in retrospect, but Mann’s handling of the tale, which is actually based upon the novel by Frank Hohimer titled “The Home Invaders: Confessions of a Cat Burglar” is excellent. He keeps it sharp, entertaining and tense.

James Caan, in the lead role, puts his heart and soul into this character. A man separated from the usual methods of living and torn apart from his childhood, he delivers a performance to rival anything from the 80’s and it’s easily his finest work. Matching his powerful performance in Coppola’s The Godfathers and an even more terrifying one in Misery, he leads his character into the darkness and never looks back. Reminiscent of the 1978 brilliance of Ulu Grosbard’s Straight Time in more ways than one, Thief excels itself on its exciting premise, translucent cinematography and an absolutely brilliant score. This debut feature from one of the masters of crime cinema has underrated slapped all over it. Immense fun and highly recommended.

84/100

Lawless (2012)

Lawless, the new film from the highly talented John Hillcoat, the man behind the admirable The Proposition and the emotional roller-coaster that is the post-apocalyptic adventure The Road, now returns to a similar stamping ground that made The Proposition so successful. Reunited with the surprisingly brilliant writing talents of one Nick Cave and the vast acting talents of another Guy Pearce, Lawless delivers in more ways than one for me. Of course, the common traits of a western are all there to see, but it’d feel like an injustice to say that Lawless is just another funny, entertaining gangster epic. Firstly, it’s a souring epic of angst. And secondly, it almost feels like somewhat a study of family dynamics.

Prior to viewing Lawless, my expectations were fairly non-existent. I normally find Shia LaBeouf to an awful human being and an even worse actor, but his performance here is worthy of all the potential acclaim I feel he deserves. It’s a performance laced with emotion, power, strength, love and anger and he delivers each line with such an authority that it’s a surprise that his career has been built around such car wrecks as Transformers: Revenge of the Fallen. Also impressive in Lawless is the large, brooding mad man that is Tom Hardy, who does career best work here, and the mighty talents of Mia Wasikowska as the love interest of LaBeouf’s character. Lawless is a film written such authenticity, adrenaline and attitude that even the never ending roll call of glorious talent with Gary Oldman and Jessica Chastain on the back end isn’t even the strongest aspect of this ascending and slick western.

89/100

Show Me Love (1998)

Up until earlier this year, I had no idea who Lukas Moodysson was. That all changed when a good friend of mine suggested I try his brutal 2002 release Lilya 4-ever. Lilya is a film I immediately fell in love with, I found it to be one of the more powerful and heart-breaking films I’ve ever seen. A film so perfect and effective that I love enough to consider it as one of the finest films I’ve ever seen. Ever since that viewing, I knew Moodysson was a director that I’d love even more if I watched the rest of his relatively short catalogue (obviously, how can you love a director based on one film). Show Me Love is just as impressive, damaging and downright brilliant as the masterpiece that is Lilya 4-ever. Show Me Love is Moodysson’s debut feature, released in the October of 1998, a meagre four years prior to the powerhouse Lilya. In his debut feature, Moodysson gives a completely different outlook to the traditional love stories that we’ve all seen over the years. In all truth though, it feels as far away from a love story as anything I can even remember seeing.

The premise, as expected with it being a debut, is much more simplistic in its narrative, but the portrayals of the two lead characters and the character development is quite astounding, really. Agnes; the town geek with no friends falls in love with Elin; the popular girl that everyone loves. Two polar opposites at first, but Elin’s transition from the stuck-up bitch to the sweet, selfless young woman is beautiful. The two of them fall in love in strange style as Elin returns to apologise to Agnes for kissing her as a bet and it’s simply an emotional rollercoaster for several of their earlier scenes. The narrative, as simplistic as it seems throughout, has much more weight to it as the story develops throughout. A beautiful piece of art with two terrific performances from Dahlstrom and Liljeberg as Elin and Agnes, respectively.

Oh, and the use of Foreigner’s “I Want To Know What Love Is” is one of the most unexpected uses of a track I’ve ever heard, but massively effective in its brief appearance. Right up there with Moodysson’s other brilliant use of Rammstein’s “Mein Herz Brennt” in the closing stages of Lilya 4-ever.

91/100

The Girl Next Door (2007)

In 2007, two films were released focusing on the savage beating of a young girl by her foster mother and her children. One of which was An American Crime, which featured Ellen Page as the young girl and Catherine Keener as the disgusting foster parent that gave permission for the grotesque beatings. An American Crime, in my eyes, is one of the most underrated films of 2007, and potentially of the entire decade. It is a film with such power, that its effect is strong enough that I can still remember the entire film even after my only viewing being at least two years ago. The other film is The Girl Next Door. No, not the teen comedy with Emile Hirsch and Elisha Cuthbert, but indeed a very strong film in itself, also detailing those unforgiving events that went on inside that terrifying Indiana household.

The Girl Next Door, based on the Jack Ketchum novel of 1989 examining the true life events of many years ago is a completely different animal to Tommy O’Haver’s An American Crime. At the start, as we are interested to the character, it comes off as some kind of Stand By Me rip-off. But it’s a million miles away from one of the most beloved tales of youth of all-time (I actually hate Stand By Me, but I understand its importance). This particular adaptation of the novel tells the story in such a harrowing manner that I had to turn my head away from the screen on multiple occasions, as the torture and abuse was carried out by the conniving and evil Ruth Chandler, played with such a sinister and with a layer of dominance by the unfamiliar Blanche Baker. Her performance is absolutely astonishing, and at times it feels like she is channelling Anthony Perkins’ portrayal of Norman Bates in Psycho in an almost devilish manner.

Several of the other performances are far from convincing, and to a degree it does damage a little of the impact that the overall film had on me, but nothing to bad to derail the strength of the film that lays ahead. Another part that has a minor effect on the film, for me, is the telling of the story in a flashback. The Girl Next Door begins with an older David Moran reflecting on the childhood trauma of his life, which quickly transitions to the story, but unfortunately it does change the flow of the film in a way. Thankfully though, it doesn’t change back until the entire story is foretold in the 50’s until the final scene of the film. I understand that the film is based on a novel, and the director was likely under great pressure to portray the book in the truest manner that he could, but I just can’t help but feel the great suffering that the young woman receives may have been even more stronger if it felt like the events were happening right now, instead of previously.

Very impressed as a whole, and I just have to say it that “If I see any slutting going on around this house, your ass is grass and auntie Ruth’s the lawnmower.” is one of the greatest pieces of dialogue I have ever seen in any film.

82/100

Benny’s Video (1992)

 

This is a pretty premature verdict from me considering I’ve only seen four other Haneke releases (those being the two Funny Games, Cache and The White Ribbon), but the general context of a Haneke feature becomes immediately clear. They are films flooded with heartache, isolation, vulnerability and most apparent of all, they are drenched in animosity. Benny’s Video is certainly something that can be associated with all those terms; it’s a cruel piece of film-making that is as unrelenting as it is beautiful. Benny, played by Arno Frisch in unforgiving fashion, who is the perfect example of everything that makes Haneke’s films so groundbreaking and astonishing. Benny is a young teenager, seemingly separated from the world and as far from the idealistic and model teenager than you can even imagine. Frisch’s presentation of this violent and demented soul is massively admirable, but the cold atmosphere of the cinematography, matched by the unstoppable power of the screenplay make this early entry from Haneke one of the most surprisingly and unique releases of the early 90’s. Far from the masterpiece that the early scenes suggested it may have been, but Haneke’s masterful film-making talents and the unparalleled embodiment of cold, bitter souls and the true absolution that binds horror and family dynamics together will most definitely leave the viewer with a new outlook on life and death, and future cinematic experiences.

80/100

The Unbearable Lightness of Being (1988)

Juliette Binoche is a beautiful woman, and her performances in films such as Three Colours and Damage are among some of the finest work I’ve seen an actress do. In The Unbearable Lightness of Being, a multi-layered adaptation of the famous novel of the same name by Milan Kundera, she even further strengthens my opinion of her vast emotional capabilities. Through her presentation of the disillusioned, isolated and vulnerable Tereza, she manages to stand alongside the ever consistent Daniel Day-Lewis, Just as she did so tremendously with Jeremy Irons in the 1992 elusive drama Damage. Day-Lewis, here, though, is utterly phenomenal. As ever, he brings his own unique and earth-shattering illustration of a character so exposed and surprised by what the world continues to offer him that you just can’t imagine another actor taking on the role so magnificently as the two-time Academy Award winning Day-Lewis here does, as the Czech brain surgeon Tomas. Films like The Unbearable Lightness of Being, and to be honest many of the films that both Day-Lewis and Binoche regularly appear in rely on strong, charismatic and unforgiving performances. This particular film is no such exception, but the writing here is wonderful, elegant and powerful to the point of several earth-shattering moments sticking out memorably. It never gets to sentimental, though, and that’s why I admire the screenplay as much as I do. Kaufman’s direction is likewise; superb. He gives his two screen phenomenon’s the freedom to express their characters in any way they choose, and it pays off spectacularly.

85/100

Red Rock West (1993)

I personally think Nicolas Cage is a very talented actor, it’s just that 80% of the stuff he appears in is absolutely ridiculous. Films like Knowing, Vampire’s Kiss and The Wicker Man are all dumb as shit films that overload on making Cage look like a freaking lunatic. Truth be told, he is, but the other 20% of his career is filled with stuff such as Leaving Las Vegas, Wild at Heart, Bringing out the Dead and Adaptation. Those four, for example are the four where his talents are truly at their peak. He shows happiness, sadness, depression and isolation in the characters that he portrays, but I think that Red Rock West may potentially be the greatest prove of the man’s acting credentials.

Red Rock West, in all truth is a film that I had very minor expectations going into. I partially watched it for the madman that is Nicolas Cage, but I mostly watched it for the powerhouse that is Dennis Hopper; an actor that I deeply love, who I find to be relatively underappreciated for his work throughout his long career. The two of them, along with the glowing Lara Flynn Boyle tap into their characters in glorious style. The performances are rich, well-handled and pivotal to the effectiveness of this particular western neo-noir.

John Dahl, the director of the deeply underrated Joy Ride (or Roadkill, as it’s known throughout other parts of the world) really showcases his talents for tense, gritty thrillers this early on in his career. Red Rock West is surprisingly only his second feature (Kill Me Again is first), but you wouldn’t know that considering how mature and synchronised Red Rock West is. My love for westerns is as strong is my love for neo-noir thrillers, so the relatively untapped idea of binding the two genres together is something I was always going to be interested by, but I can’t for one moment say that I expected anything more from Red Rock West than a fun actioner. Red Rock West, in all honesty, is quite simply a stunning film. The writing has pure strength and power, the gritty cinematography is admirable and even the soundtrack adds a certain weight to the tone of the film. An atmospheric western gem of the 90’s, and something that really should be seen and loved by many more people than it is.

88/100

Out of the Blue (1981)

 

Dennis Hopper’s acting talents are something that I’ve always admired, but his behind the camera work is desperately underrated. Easy Rider is of course loved and cherished by cinema goers all around the world, but films such as The Last Movie, Out of the Blue and Colours to a certain degree are absolutely fascinating watches.

In Out of the Blue, Dennis Hopper’s character Don Barnes starts the film as a truck driver, who along with his daughter in the passenger seat ploughs into a school bus filled with children. Cut to several years later with Don in prison for his awful crime and Cebe, his young daughter is an isolated, but righteous young girl filled with hate and a rotten love for Punk music. The film features heavily on their relationship as Don is soon released and his efforts to rebuild his relationship with his much changed daughter.

Linda Manz, who portrays Cebe is a captivating young girl. She encounters many strange characters in her attempts to distract her from her boring and currently fatherless home life. Cebe is seen willingly smoking, illegally driving a car and attempting to get a Rum and Coke in a local bar. Her lifestyle is generally one of a punk, but immediately it comes to your attention that it’s all just a way for her to “get away from it all”, she tries too hard at times and eventually when Don does arrive home, she settles down for a while. Her relationship with Don, in all honesty is a strange one. After his return, he is seen still driving and still drinking while doing so. Cebe is seen dedicated to her father and his rebellious ways, which is obviously what, unsettles her as we draw close to the chaotic, but absolutely brilliant finale.

81/100

The Silence of the Lambs (1991)

The Silence of the Lambs, one of the pivotal horrors of the 90’s and potentially of all-time. Jonathan Demme’s cultural horror masterpiece is a true showcase of everything that the genre can do and more. It’s a simplistic horror film, but it’s certainly one of the more intelligent ones there is. To me, the genre label for it; ‘horror’ seems particularly naive, as its expansive and weighty ambitions signify something that cannot be held down and placed under a label, instead standing alone from everything the label suggests. The reason The Silence of the Lambs is so well-respected and admired by today’s directors is the impact it has on the senses of the viewer. It manipulates the audience into believing one thing, before quickly shaking it off and upping the tempo.

When most people think about The Silence of the Lambs (and this is me included), Anthony Hopkins’ macabre and brutally taunting performance is the first thing that comes to mind. In all truth, Hopkins’ role in the film is interesting, to put it mildly, but there is a lot more to The Silence of the Lambs than just one demonic, Academy Award winning performance. There’s the ever inconsistent Jodie Foster, who performs admirably in a demanding role, made even more arduous by Hannibal Lecter (Anthony Hopkins) and in the very first scene in which she encounters Lecter, is made incredibly clear to her that this insane individual is so much more than just a cannibal, but one that with even the smallest knowledge of her shy personality can rattle her brains.

In that first encounter with Lecter, who Jodie Foster’s character Clarice Starling is tasked with the unrivalled mission of getting assistance from for the grotesque murders and subsequent skinnings by the aptly named “Buffalo Bill”, she is less than prepared for the demonic nature of Lecter and his unfashionable and characteristically calm manner as he utters out the famous “A census taker once tried to test me, I ate his liver with some fava beans and a nice Chianti” and the subsequent hissing.

The Silence of the Lambs is a true milestone of cinema, and one that for me grows in power with every viewing. A masterpiece, with a spiritual significance in the manner that it portrays its characters, the sharp, flowing dialogue between Clarice and Lecter, the cinematography, the use of sound.

100/100