Iro's Film Diary

No, Iroquois, it's really important, you just don't get it. Twilight is GENIUS.

*starts cutting wrists*

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Movie Reviews | Anime Reviews
Top 100 Action Movie Countdown (2015): List | Thread
"Well, at least your intentions behind the UTTERLY DEVASTATING FAULTS IN YOUR LOGIC are good." - Captain Steel

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Iro's Top 100 Movies v3.0

That expression is too perfect.

In my experience, Jean-Luc Picard does tend to make for great reaction images.

Oh jeez, my stomach hurts I'm laughing too hard.

Re: Overboard

I think Suspect hit the nail on the head with that one. What Kurt Russell's character did would be absolutely despicable in real life. Besides the kidnapping and enslavement, he essentially raped her. But nowhere do I see it sending the message that this is okay. It's just absurdity for the sake of comedy. As for the Pee Wee Herman thing? You have to keep in mind that the film was made in 1987. As someone who was a child in that era, I can attest that there were plenty of real life obnoxious kids who went around talking like that all the time.

Re: The Revenant

Well, I agree about the CG anyway.

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Yeah, in that regard it's not a whole lot different from all those other clichéd rom-coms where the premise involves one party making up some elaborate lie in order to win over another party only to get exposed towards the end and have to work to put things right, but it still seems like it goes a bit too far even within the context of light comedy. Even though the film does at least have Russell question what he's done at one point and even face some typical end-of-second-act consequences, the fact that the movie ends with Russell and Hawn together anyway (plus she's super-rich so it's even better!) doesn't seem to explicitly condemn his actions either. In the face of this, any claim to absurdity feels incredibly hollow.

Also, why would you bring up the Pee-Wee Herman thing if you're not going to offer more of a defence than 'well, that was a thing in 1987"? It's annoying in a way that even that little bit of historical context wouldn't be able to redeem.

Well, seeing as Gladiator is one of your favourite movies, I figured you'd dig another three-hour Hollywood period piece about a grizzled man fighting to get revenge on the man responsible for his son's death.

#7 - Clash of the Titans
Desmond Davis, 1981



The human son of the Greek god Zeus must undergo a series of dangerous trials in order to win the heart of a beautiful princess.

Not a whole lot to be said about this one, I think. It's not an overly complex film as it attempts to build a simple bit of fun that's rooted in Greek mythology and involves legendary effects wizard Ray Harryhausen bringing creatures like the Kraken or Medusa to life. Unfortunately, there's not much of a film to go along with it. Sure, you've got some fairly reputable actors like Maggie Smith, Burgess Meredith, and Laurence frickin' Olivier in the mix, but even they can only do so much when it comes to selling this high-fantasy hogwash. It really is only worth watching for the stop-motion effects, which are impressive on a technical level (especially in the case of the Medusa sequence, which is pretty sensational given the circumstances) but even they aren't enough to truly save the film

I was just pointing out the fact that kids are obnoxious as hell, so why should a movie kid be any different? That was one part of the film that was actually realistic.

Whatever, it all boils down to "just not funny" for one reason or another.

#8 - Straight Outta Compton
F. Gary Gray, 2015



A biopic chronicling the history of notorious gangsta-rap outfit N.W.A. and the conflicts that arise between its members.

I don't exactly have the greatest affinity for N.W.A., the short-lived but massively popular and influential rap group whose hard-hitting lyrics were some of the first to draw attention to what life was really like for black youths living on the mean streets of Los Angeles. As important as they were, they still had problems that stopped me from appreciating them all that much, especially when it came to the members' misogynistic tendencies (which isn't helped by this film glossing said tendencies over, albeit not completely). That being said, I still had an interest in seeing Straight Outta Compton, the biopic that covered the group's meteoric rise and protracted fall. It's about as conventional a biopic as you could possibly ask for under these circumstances; after introducing all five members of the group, it follows the different members as they confront everything from police brutality to gang violence as they work to produce new material. However, due to the opportunistic relationship that develops between Eazy-E (Jason Mitchell) and the group's manager Jerry Heller (Paul Giamatti), things start to fall apart and it's not long before Ice Cube (O'Shea Jackson, Jr.) and Dr. Dre (Corey Hawkins) start to question their role within the group and seek to strike out on their own.

F. Gary Gray is a pretty standard journeyman director, though he does have an in with the material thanks to his directorial debut being the Cube-scripted stoner comedy Friday (which does get a few references throughout Straight Outta Compton) and thus delivers a relatively passionate take on the material. The film does threaten to grow stale over the course of two-and-a-half hours due to its biopic trappings but never does thanks to the strength of a story that knows how to cover the highs and lows of one tumultuous decade. The mostly-unknown performers assigned to portray N.W.A. themselves do very well with their roles. I'd single out Jackson's turn as Cube but it seems too easy considering that, you know, he's Cube's actual son and so has a bit of an unfair advantage over the others. Hawkins and Mitchell do well enough, with the former seeming like a weak link due to Dre's generally chill demeanour and the latter's portrayal of the temperamental E varies in terms of quality. Giamatti may seem like he's recycling the same type of character that he played in 2014's Brian Wilson biopic Love & Mercy, but he's just a good enough actor to make it work. Straight Outta Compton may feature a lot of the usual biopic tropes (especially those of the musical variety, including naysayers pre-emptively criticising songs that would ultimately prove popular and revolutionary) and its length threatens to make it a chore to sit through, but it's still fairly provocative and naturally has quite the powerful soundtrack to accompany proceedings.

Whatever you say, Mr. Curmudgeon.

#9 - Me and Earl and the Dying Girl
Alfonso Gomez-Rejon, 2015



A high-school misfit who is obsessed with cinema reluctantly befriends a classmate who has been diagnosed with leukemia.

I'm not especially fond of describing works of fiction by comparing them to similar works because it admittedly feels too lazy and reductive, plus it means very little to any readers who are not already familiar with said earlier works. In the case of Me and Earl and the Dying Girl, such a practice seems justified due to its consciously referential nature. This is exemplified by the fact that its protagonist (Thomas Mann) and his best friend (RJ Cyler) spend their spare time not only obsessively watching old/obscure films but also make their own zero-budget parodies of their favourite films that involve a pun on each film's title. This is just fine for Mann's standoffish misfit who works to cultivate an agreeable acquaintance with each student in his high school less out of an earnest desire to socialise and more out of a paradoxical desire to exist at a remove from his peers and "survive" high school. Things change when one of Mann's classmates (Olivia Cooke) is suddenly diagnosed with leukemia, thus prompting his mother (Connie Britton) to coerce him into trying to be friends with Cooke. Though neither Mann or Cooke are thrilled with the idea, they nonetheless strike up a surprisingly genuine friendship, which is challenged not only when Cooke's condition inexorably worsens but also when another student (Katherine Hughes) encourages Mann and Cyler to apply their skills and make a film dedicated to Cooke.

Me and Earl and the Dying Girl definitely fits into the same quasi-independent mold as films like Juno or The Fault in our Stars in how it creates a tragicomic coming-of-age narrative that involves playing off some severely life-altering circumstances, though this one is distinguished by two of its three young leads being film buffs. This does grate a bit as the film lays on its cinematic homages a little too thick at times, with a prominent example being Mann and Cooke having an awkward phone call while the one-sided phone call from Taxi Driver plays on a nearby TV. Fortunately, this extends to the film-making itself in ways that go beyond the deliberately awful parodies of classic films, with examples ranging from theatrical long takes to barely-coherent drug montages. There's even the odd moment of stop-motion animation that's used to manifest Mann's own anxieties regarding his adolescent crushing on Hughes. Relatively innovative and well-crafted though they may be, they still feel a bit too gimmicky for the most part as the film plays out with a level of self-awareness that works to undermine the film's off-beat vibe rather than complement it (especially when it comes to Mann's narration directly addressing an audience's expectations).

While I do have to give Me and Earl and the Dying Girl at least a little credit for offering something a little different to other films of this ilk, it's not enough to truly make the film work for me. To be fair, it's got plenty of nice touches that prevent it from being totally awful, too - as if the near-encyclopedic cinematic references aren't enough, another thing that truly makes the film work is its soundtrack. The decision to use a variety of songs by legendary art-rock musician Brian Eno (who also composed original music for the film) is an inspired one and does lend the film a really pleasant sense of personality. The actors are decent enough - Cyler steals the show as the flatly sarcastic Earl and makes for a good foil to the predictably neurotic Mann, while Cooke still has to do some emotional heavy lifting as the eponymous dying girl. There are some recognisable faces in the mix - Nick Offerman, Jon Bernthal, and Molly Shannon being some of the most prominent ones - but they don't offer too much of note in some fairly standard indie dramedy roles (with the possible exception of Shannon as Cooke's outwardly chipper but inwardly distraught mother). Me and Earl and the Dying Girl seems like it should be the kind of thing that I like, and there are plenty of moments that would seem to bear this out, but all the obscure pop-culture references and off-kilter cinematic decisions don't quite compensate for its fundamentally straightforward core narrative and relative lack of depth, resulting in one of the most disappointing films of 2015.

Made a doofus out of myself today. I kept remembering that face and couldn't help grinning at inappropriate moments.

Here to drop off my third +1 Rep.

Hehehe I saw Clash of the Titans at the movies when I was 10. All I can remember is Medusa, my parents unexpectedly letting me see boobs, and not liking it very much.

#10 - Carol
Todd Haynes, 2015



In 1950s New York, a wealthy middle-aged housewife forms a romantic bond with a young woman who works in a department store.

I haven't seen too many films by Todd Haynes, but those that I have definitely made an impression. As of writing, this includes the Barbie-doll black comedy Superstar: The Karen Carpenter Story, the genre-hopping anthology film Poison, and the vibrant Douglas Sirk homage Far From Heaven. Compared to these films in particular, Carol feels downright homogenous - though it is similar to Far From Heaven due to its focus on homosexuality in 1950s America, it doesn't invoke the same colourfully melodramatic vibe (visually or otherwise). While that film involved homosexuality as a secondary concern, it is most definitely the primary concern in Carol. Carol begins with young department store employee Therese (Rooney Mara) working in the toy section when she is approached by affluent housewife Carol (Cate Blanchett) looking to buy her young daughter a Christmas present. Carol begins coming up with excuses to meet up with Therese and they soon form what seems to be a friendship but which eventually becomes something more. Of course, things are complicated by numerous factors, most notably that Carol is in the middle of a divorce from her stern husband Harge (Kyle Chandler) over her lesbian tendencies; while Therese tends to be little more than a bystander to this particular conflict, she must also deal with how her experiences with Carol are affecting her previously sheltered worldview.

While Carol may lack the more obvious signs of cinematic bravado that have characterised the other Haynes films that I've seen, it compensates for it reasonably well. The 1950s setting is competently realised, especially through a soundtrack that includes all sorts of period-appropriate songs and also Carter Burwell's consummate original score. The slow-burn pacing suits the first half just fine and the escalation of events during the second half does not feel jarring. Mara provides an appropriately understated but emotional performance as Therese, whose journey from a timid shopgirl to a more self-assured individual proves a solid backbone to the film. Blanchett's performance and arc may be slightly more theatrical (albeit a subtle chamber-drama kind of theatrical), but she can make it work in a way that doesn't overshadow or hinder Mara's own arc, especially when the two of them are joined together for extended periods of time. There are even a few notable supporting players, with Chandler proving fairly complex despite his obvious status as an antagonist and Sarah Paulson making a good enough impression as Carol's ex-lover turned confidant. Given the repressive climate of its setting and rather languid approach to storytelling, Carol does seem rather dry on the outside and enough so on the inside to prevent it from being truly great. Fortunately, that's about the extent of the film's faults as it is buoyed by two leads who not only work well together but are still capable of propping up their somewhat familiar individual narratives.

#11 - Heathers
Michael Lehmann, 1988



A member of the most popular clique in high school begins a tumultuous relationship with a rebellious new student.

There is a lot to love about Heathers, the gleefully twisted high-school comedy about embittered popular girl Veronica (Winona Ryder) and her growing dissatisfaction with her place within the most popular clique in school (whose other members are all coincidentally named Heather, hence the title). Her uncomfortable social equilibrium is altered by the arrival of J.D. (Christian Slater), a trenchcoat-wearing bad boy whose first day at school involves him pulling a gun on a pair of bullying jocks. After Veronica's relationship with main "Heather" Heather Chandler (Kim Walker) is pushed to its breaking point, she joins forces with J.D. to prank Heather in revenge - however, J.D.'s more extremist ideas about revenge lead to the duo accidentally killing Heather. To cover their tracks, Veronica and J.D. fake a suicide note to throw people off - however, that's only the beginning of Veronica's problems as she not only has to deal with the guilt of accidentally killing her best friend (and worst enemy) but also with J.D.'s intention of creating out even more "suicides" in order to improve the school as he sees fit.

Like many a film that's earned a reputation for being a cult classic, Heathers is an enjoyably engaging piece of work in virtually every regard. The most credit has to go to the dialogue, which naturally becomes timeless not only because of its bizarre take on teen syntax but also because of just how many lines drip with pure acid, whether they're coming from bitchy fashionistas or maladjusted sociopaths. This also extends to the wide variety of characters who rise above the usual high-school stereotypes and become distinctive in their own ways - any film where even the smallest of characters can be considered notable parts of the film can easily qualify for cult success, and a cast that includes characters like Martha Dumptruck or Big Bud Dean is definitely such a film. In this regard, any actual quality of performances seems virtually irrelevant, but that doesn't stop performers like Slater and Ryder crafting some distinctive characters. The dialogue and characterisation is also emblematic of the film's general tautness - one thing that really came across in this recent viewing was just how efficiently the film told its story. This is especially true of the editing, which is swift without being disorienting even as sequences change settings within rapid succession (and also aids the humour, which is definitely a plus). There's a lot of ground to cover in this film, especially when it comes to such inherently contentious subjects such as suicide, homophobia, sexism, and eating disorders. Despite its comedic pretensions, Heathers manages to handle each of its subjects with a surprising amount of tact underneath its many vicious one-liners.

Though its status as a 1980s teen movie definitely guarantees that it will be noticeably dated, Heathers benefits from being based in a deliberately fantastic exaggeration on actual high-school life. The fake teen slang (and the impressive diction thereof) definitely grants the film a personality of its own, but that also extends to the visual style. Colour plays a big part in the film - not only do the principal characters (Veronica, J.D., and all three Heathers) each receive their own distinctive colour that all but defines their wardrobe choices and choice of croquet ball, but there are some striking uses of the cinematic palette in sequences that range from smoky college parties to giallo-like nightmares. The deliberately dated nature of the film also extends to the soundtrack, which is peppered with all sorts of cheesy synth parts that range from Morricone-like wheezes to bubbly New Age piping. Though this could have sunk the film, it only adds to its personality. If Heathers isn't my favourite high-school movie, then it's certainly very close. It manages the impressive feat of being effectively satirical without taking itself too seriously or not seriously enough. The result is one of my favourite black comedies, a gaudy and darkly funny subversion of the John Hughes model for teen movies that is more than capable of standing on its own two feet because the extreme does make an impression.

#12 - Machete Maidens Unleashed!
Mark Hartley, 2010



A documentary about the history of exploitation films that involved the Philippine Islands.

Mark Hartley is something of a one-trick pony when it comes to his documentaries - fortunately, it's a trick that I do enjoy watching him pull. His debut feature Not Quite Hollywood saw him deliver an elaborate work about the cult cinema of his native Australia - the same format carries over to sophomore effort Machete Maidens Unleashed!, which expands upon the approach he used in his previous project. Like Not Quite Hollywood, it covers the golden era of grindhouse cinema that ranged from the shifting modes of film censorship that occurred in the late-1960s to the home video revolution of the early-1980s. This time, the focus shifts to the even more improbable location of the Philippine Islands, which became a viable setting for American film-makers looking to capitalise on exotic locations that didn't tax film budgets too heavily. Most of the film is concerned with the work of the notoriously schlocky New World Pictures, whose main man was the one and only Roger Corman. As a result, most of the film becomes about this particular studio's attempts to use the country to its benefit, often involving a lot of the usual exploitation genres like women in prison or blaxploitation.

Corman and co. prove a decent enough centre to the film as they create all sorts of exploitative movies within the relative freedom offered by the Philippines that does offer some dubious measure of quality (for example, several interviewees openly question whether or not certain films about vengeful women could be considered pro-feminist despite their emphasis on rape-revenge narratives). While the films covered naturally provides Machete Maidens Unleashed! with all the usual archived footage of sex and violence that one might reasonably expect from a Hartley documentary, Hartley's film still offers up more. It examines the historical context of the Philippines during this period, especially when taking into account the regime overseen by Ferdinand Marcos and the attempts at crafting cultural cachet overseen by his wife Imelda. There's even time to address Apocalypse Now (arguably the most famous film to ever be filmed in the Philippines), even if it does ultimately amount to rehashing stories that had already been recounted in the far superior Hearts of Darkness: A Filmmaker's Apocalypse.

If there is a glaring issue with Machete Maidens Unleashed!, it's that it admittedly skims over the Philippines' own contributions to cult cinema - though there are a couple of Filipino directors featured here, it is mostly about the Americans doing their thing. This does result in the film leaving the story of little person actor Weng Weng (who became famous off the back of James Bond parodies like For Your Height Only) until the very end, which could be considered saving the best for last. Otherwise, the film is peppered with a number of recognisable interviewees that do make for engaging subjects as they tell tales about all sorts of things ranging from unforgiving filming conditions through to commentary on the Filipino government enforcing martial law or fighting civil wars. While Machete Maidens Unleashed! may be the weakest of Hartley's documentaries, that doesn't automatically make it bad and it doesn't hurt to see another highlight reel for an obscure cinematic movement complete with amusing anecdotes.

I think you sold me on this one.