AtClubSilencio's Year in Film (reviews and ratings)
 

The year is coming to a close, so now it's time for me to start my annual (well 1st annual) overview of our cinematic year of 2013. Which hasn't been that bad.

So sit back, get comfy, and let's get this show on the road.

Looking forward to it. Just quickly - this site uses a 5-star rating system, and we even have some cool little graphics to use for your ratings that show lil boxes of popcorn for the score.

to

http://designyoutrust.com/wp-content...Poster-034.jpg
Doomed to be misunderstood by less film savvy audiences. Spring Breakers is Harmony Korine's most accomplished and visually intoxicating film. Through the use of repetitive and pointed dialogue, mesmerizing cinematography by Benoit Debbie, and, of course, a one of a kind, oscar worthy performance by James Franco, who is equal parts hilarious, sympathetic, and dangerous. Ultimately, Spring Breakers is a hypnotic film that benefits from further viewings, it's the small details throughout that go to show that this isn't some exploitive brainless titty show (though there is plenty of nudity, though it's necessary.) You'll either it get it or not, but the artistic value of SB is undeniable.

One of my very favorite films of the year.

Final Rating



Funny side note: This is also one of my mother's favorite films.

thank you for the heads up, i was wondering how to find those.

Re: Archer's 2013 in film (reviews and ratings)
 

No problem. If you need help with the code, just let myself or another moderator know!

Joshua Oppenheimer's new documentary, with executive producers by Werner Herzog and Errol Morris, is like nothing you have ever seen before, and nothing you would ever want to see again. This is next-level film making, documentary or otherwise, that left my jaw agape and my mind reeling. The focus of Anwar Congo, a grandfather and film maker, who also happens to be a mass murder back in the 60s, having killed 1000 people. He's a fascinating character to watch, and also quite sickening. With his potentially pedophile/drag queen friend at his side in Herman Koto, as well as Adi Amin, amongst other mass murderers who would kill "communists". Oppenheimer asks these atrocious human beings to reenact sequences of their killings in any style of film making they want. Some feature film noir, others musicals, as well as nightmares, and others just nothing but brutal mass murdering. While also recreating interrogation. Anwar, with a smile on his face, shows us how he'd execute hundreds of people (men, women, and children) by using piano wire. The Act of Killing is a horrific, sickening, infuriating, and deeply disturbing view into the Indonesian thug life, and the organizations that keep it going today (and yes the US government is involved as well). Will these men ever find justice? No. I felt ashamed to be apart of the human race after watching this. A little editing on Oppenheimer's part would have gone a long way. But this is essential viewing for any fan of documentaries. It's important, even if you can't quite fathom what you are watching. Gruesome and hard to take, to say the least. This is masterful and unforgettable, even if you may want to forget it. The ending is especially haunting, as Anwar begins to realize maybe what he has done is wrong and becomes violently,demonically, physically ill. It's quite a sight to behold, but then again so is the entire experience. Don't miss it. Just don't ever watch it again. (Not Rated- but contains strong disturbing content and images, graphic descriptions of rape, murder and torture, and for language throughout)

Re: Archer's 2013 in film (reviews and ratings)
 

More to come. Off to get wine and cigs.

Re: Archer's 2013 in film (reviews and ratings)
 

I didn't get the Spring Breakers fuss. Especially with how unrealistic the movie itself is.

I wouldn't say it was going for realism.

Possibly the biggest surprise of the year (at least for me personally) Prisoners completely took me off guard. I initially had no interest in seeing it, as the previews made it look like a run of the mill mainstream missing child thriller, and while it does have those elements, it's the execution and astounding performances that elevates it. Anyone going in thinking it will be a fast pace crime thriller will be let down, for the rest of us it's more akin to Se7en, The Girl With The Dragon Tattoo, and Snow Angels. Hugh Jackman is oscar worthy here, giving probably the best performance of his career. I definitely feel he will garner another oscar nod. Jake Gylenhaal is also great in a more subtle way. But it's Paul Dano who is the most haunting, creepy, vulnerable, and inscrutable. He's fantastic. But the crowning achievement of the whole enterprise is Roger Deakens superb cinematography. Can we please just give this guy an Oscar already? Prisoners treads some truly bleak and dark territory, and it's hard to shake. But it's also one of the best films of the year that should not be missed.

The first 30 or so minutes of Oz the Great and Powerful made me hopeful that this could possibly be the first Sam Raimi film I would end up liking. Unfortunately, this feeling was short lived, as the longer the film went on the worse it got. Sure, it's pretty to look at, but do film makers care about practical effects over hollow CGI environments anymore? Another fault is in the casting, especially Mila Kunis of whom I love to watch. What we get in the end is pure eye candy that could give you a sugar rush. But the story and dialogue is absolutely dreadful. Maybe a day will come when I actually like a Raimi film, but until that day comes he remains one of my most hated film makers working today.

Mama works best as some macabre, Grimm, fairy tale, rather than a full on terrifying horror film. In my opinion, I rather liked the approach. There are still more than a share of some deliciously creepy and at times scary moments (one sequence involving a darkened cabin only illuminated by the flash of a camera works like gangbusters.) Then there is Mama herself, while I would have appreciated more practical effects, the sound design for the creature is terrifyingly unique, adding yet another scary creature to Javier Botet's resume (Rec.) Really, Botet should just play ever villain in every film. Chastain is once again commanding of the screen, and it's refreshing that she plays a character that actually believes that something may be going on instead of rationalizing everything or telling the kids it's all in their heads. Ultimately, if you go in to Mama expecting a terrifying fright fest you'll bee disappointing. But if you want a richly dark fairy tell with horror elements then Mama is right up your ally.

Europa Report is a film that has left me completely divided. On a technical level it's a masterpiece. The editing is brilliant, with multiple shots filling the screen at times, inter-cut with talking heads, and a live 'breaking news' style press conference of the Europa mission. What's really great, though, are the awesome visual effects which are nearly photo realistic at times. You really do feel the isolation of space, and the surrounding planets and planet surfaces, as well as the Europa shuttle, are all authentically realized on such a small budget. So when it comes to strictly film making terms, Europa Report is something of a fascinating exercise. Unfortunately, the actual story being told doesn't hold up. Not much really takes place, and the initial intrigue soon begins to fizzle out as one realizes that there is nothing about these characters that are very interesting or even distinguishable from one another. There's just no character development at all, save for one character which makes his/her outcome all the more obvious. Then there are teases that maybe something will begin happening when signs of potential extra terrestrial life are brought into the picture, but nothing is ever done with it. We know it's there, but it never adds any tension because it seemingly poses no threat. Sure, the characters see glimpses of it, but everything that happens to them is by their own doing and not by some other life form. So here we have a wasted opportunity that deserved a bigger budget, a better script, and longer run time to give the audience something to actually invest their interest in. Sadly, though, Europa Report is ultimately as fascinating as it is frustratingly dull. Making for one of the most disappointing films of the year. Still, kudos to the visual effects and editing team,

Re: AtClubSilencio's Year in Film (reviews and ratings)
 

Is anyone reading this?

*NOTE: My initial viewing of The Conjuring scared me crapless, but after watching it again I noticed it doesn't hold up as well, save for Farmiga's haunting performance. It's still James Wan's crowning achievement, but the following review may be a little too enthuiastic. Very highly reccomended though.

With The Conjuring, James Wan continues to prove he's developing as a film maker. Beginning with the unintentionally hilarious Saw, to Dead Silence, and Insidious which became his biggest hit, The Conjuring is his crowning achievement so far. Based on the true story of the Perron Famly Haunting, as well Ed and Lorrainne Warren, two paranormal investigators who come in to try to help the Perron's but soon find themselves in one of the darkest, most terrifying haunting they've witnessed. Wan knows how to play his audience like a tightly wound fiddle. Filled with such sustained sequences of pure tension, it left my stomach in knots. Opening with a prologue involving Annabelle the haunted doll (another true story) he sets the stage. The first scene is so creepy, tense, and cover your face scary, it would feel that maybe it would fizzle on from there. It's the best opening to a horror film since Scream, if not one of them. Luckily, though, the rest of the film is up to par. And damn is it scary. While all the performers put in solid work, it's Lily Taylor and especially Vera Farmiga who give tremendous performances. Farmiga is flawless in her performance, gentle, warming, but also terrified. A certain sequence involving her during an exorcism is down right chilling. Does Wan still rely on jump scares? Yes. But in the case of Wan, his jolts are truly jarring and never cheap. Ultimately, The Conjuring is one of the best modern mainstream horror films of the year. You'll scream, you'll grip your chair, you may tremble. It's a frightening, old-fashioned, throwback to 70s horror. Even if the ending runs out of steam, and it's obvious hollywood interfered with some of it. These are nitpicks in the grand scheme of things. The Conjuring as set the bar this season. And if you are a horror junkie don't pass this one up. It's a rattling experience. And I already look forward to the sequel. (Rated R- contains intense sequences of terror, some violence, and disturbing images)



Initial rating:

Writer/Director/Composer/Editor Shane Carruth's follow up to Primer is as enigmatic as it is entrancing. A true work of pure cinema, uncompromising in its original story telling. While Primer was a brain fryer, Upstream Color takes it a little further. Everyone I've shown it too has either been completely baffled or have completely loved it. I'm in the latter catagory. It's a hypnotic experience, creepy, thought provoking, and sent my mind reeling. Whether you love it or hate it, Upstream Color is an undeniable work of cinematic art. I loved this film.

Woody Allen has really started to find his stride again, and Blue Jasmine is no exception. It's his most emotionally affective film in a long time. However, Cate Blanchette owns this film. She is so exquisite she overshadows the film itself, which is not a bad thing, as her brilliant performance as Jasmine. A once super wealthy wife to a swindling, cheating, fraud of a man (played well by Alec Baldwin) is left to her own devices when he is arrested she she is left broke and forced to move in with her sister in San Fransisco. Unfortunately, her devices include popping xanax like candy and chasing them with endless booze. She's an unsavory character, pompous, high and mighty, judgmental, bitingly honest. But in the hands of Cate Blanchett's pitch-perfect performance, she makes Jasmine an understanding and tragic character. This is next-level acting, she's every natural disaster rolled up into one person, and if she doesn't get the award for best Actress I'll be shocked. On the other end, Sally Hawkins as Jasmine's sister (both adopted) is everything that Jasmine isn't. Down to earth, slightly neurotic, but still humanistic and vulnerable. Hawkins owns the role and is more than up to Blanchett's performance. The most surprising performance comes from Andrew Dice Clay of all people, creating a sympathetic, honest, understanding, but heartbreaking character. Blue Jasmine is not without its flaws (I imagine many hating the ending) but I found it to be Allen's best film in years. It's a harrowing, depressing, bitingly funny, and exceptionally acted work, and some of the most original and great films that Woody Alllen has done in a long while. Don't miss it. If only for Cate, in her instant classic performance, up there with Meryl Streep in Sophie's Choice and Jessica Lang in Frances. Great film. Keep up the good work woody. And Cate, start writing your acceptance speech now.

Re: AtClubSilencio's Year in Film (reviews and ratings)
 

That's all for now. Feedback please!

Re: AtClubSilencio's Year in Film (reviews and ratings)
 

I would comment on some of these, but the simple problem is being that they are all new releases, I haven't seen them :( However, your reviews are good and these all seem to be films that I would be interested in seeing.

Re: AtClubSilencio's Year in Film (reviews and ratings)
 

RE: Mama

I enjoyed some aspects of Mama, but dammit if that ending didn't have me almost physically pissed at how poor it was. Pretty much destroyed my enjoyment of the film. That said, it had a few scenes that were really well done and very unsettling.

I liked The Conjuring a whole lot more.