Swan's 2017 Movie Adventures

Saw III - -
(Darren Lynn Bousman, 2006)

[REWATCH]



So it's a little better than the atrocious second film, possibly due to the more entertaining script by Leigh Whannell, who at the very least seems to be giving a f*ck about making something good. Unfortunately, that doesn't stop this from being the lowest-common-denominator MTV horror that it is.

mother! -
(Darren Aronofsky, 2017)

[NEW WATCH]



Where the hell do I begin with this one? On one hand, I feel like this movie isn't something you're meant to discuss with other people but just kind of... experience and let it linger in your soul unsettlingly. On the other hand, that didn't stop me from rambling about it for a good half hour to my buddy after seeing it. I think it can best be summed up by one description, which I am kind of stealing from someone on Letterboxd. It's a cinematic Rorschach test. It stays away from pointed symbolism in my opinion and instead uses very visceral imagery that doesn't have a definitive meaning inherent to the film but is consistent through the 2 hours nonetheless. Recurring ideas presented in an abstract fashion make each moment feel revelatory. This kind of imagery evokes a different response in everyone, it's going to conjure up different emotions from person to person. It's pretty stunning in that regard. I get why it's been so polarizing, but of course I loved it. Oh, and I guess I'm a fan of Jennifer Lawrence now too.

Black Swan -
(Darren Aronofsky, 2010)

[REWATCH]



Too many fives! I need to stop this. Moving on though. I had to see this again after seeing mother! in order to decide which is my favorite Aronofsky film, and the answer is... I don't know. I've seen Black Swan more times and godd*mn if it's not one of my all-time favorites. And I hope mother! becomes a favorite of mine too. But I've only seen it once. As it stands, I feel like this film is a flawless masterpiece with stunning everything and gut wrenching momentum. Beautiful.

Dunkirk -
(Christopher Nolan, 2017)

[REWATCH]



My buddy and I wanted to see this again to see if it would improve in our minds. I think it's a film that could get better every time I see it and make more and more sense of it. I liked it a lot more this time, bumping it up a full star. I think it's very cool conceptually and structurally. Things like: the fact that there is no main character but the subjectivity revolves not around a single person but the entire side of the war that we are focusing on, the switching between three different narratives and how those narratives interact, and the fact that you never see the Germans (something that, knowing prior to the film this time around, made for a much clear and less confusing ride). And as I know Nolan likes practical effects, the technical aspects are astounding, especially the arial stuff.

My biggest criticism is actually Zimmer's score. To me it is rarely effective at all and when it is it's merely serviceable, never truly transcendent. At it's worst, it is a detriment to the film. Some moments I thought would have been better off without the score at all. Alas, that is my only real complaint. Like I said, the more I make sense of this film narratively and conceptually, the more I can see myself liking it.

The Thin Red Line - +
(Terrence Malick, 1998)

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I struggle with war movies and this might be the best I've seen. I love seeing how Malick's style evolved throughout his filmography. I guess my one criticism ends up being a contradiction, and I'll explain how. With his more recent outings - To the Wonder and Knight of Cups especially, I love their meandering nature. I think it's because despite that, they had a tightly focused identity. I think The Thin Red Line has some focus, but I'm not as big a fan of the meandering here because... well, it just doesn't feel as focused. It's full of stunning moments but is a bit flimsy with regards to cohesion.

Score: A Film Music Documentary -
(Matt Schrader, 2016)

[NEW WATCH]



Inspiring with some excellent history, but never had anything that profound to say unfortunately. It gives a great overview of the evolution of film music though, with an extended segment on John Williams that upped my appreciation for it. My favorite part, though, might be the description of the Pirates of the Carribean theme as "Led Zeppelin with an orchestra".

Erasherhead - +
(David Lynch, 1977)

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People often call this one a fever dream. I think it's possibly even stranger than one though. And best experienced when you let it wash over you. You know, I'm almost desperate to give this five stars because I reckon it is the pinnacle of surrealist nightmare cinema and has yet to really pass that torch. Alas, I can't for one reason. I know my best experience with this film has yet to come.

Edward Scissorhands - +
(Tim Burton, 1990)

[REWATCH]



This film has a special place in my heart, as I'm sure it does for many people who felt like lonely outcasts growing up. Edward is one of my favorite characters in cinema, precisely because through him Burton captured a sense of emotional isolation I used to feel throughout my youth. While I know I'm not alone in that feeling, the way Burton maneuvers the character and his story makes that connection feel especially personal.