@21 hours ago with 1 note
#enter the void #gaspar noe #gaspar noé #seul contre tous #irréversible #nathaniel brown #paz de la huerta #cyril roy #olly alexander #transformers #masato tanno #ed spear
Enter The Void (2009)
Enter The Void is Gaspar Noé’s most colourful yet darkest and freakiest movie yet. It shares with his other movies, Seul Contre Tous (1998) and Irréversible (2002) that highly specific hard-to-look-away from hodgepodge of irresistible scenes and sequences, achieved not only by many visual effects, but also by amazing atmosphere build-up.
Oscar (Nathaniel Brown) is an American drug dealer living with his sister Linda (Paz de la Huerta) in Tokyo. His friends Alex (Cyril Roy) and Victor (Olly Alexander) are some shady characters who seem to think more about drugs than about their friendship. Victor betrays Oscar at one of their drug related meetings which ends up horribly wrong for Oscar. He dies, but his soul is still floating around because a long time ago he promised his sister never ever to leave her. How Oscar ended up being a drug dealer in Tokyo gets revealed in the remainder of the movie, where the narrative goes all over the place, from past to present to future. Themes of resurrection and reincarnation breath through the plot.
The movie is shot from a first-person viewpoint, first from Oscar himself (with blinking and everything), later from his flying soul. This approach involves the use of many long takes and overhead shots, which are really beautifully crafted, but not as soothing as the regular long takes because of the heavy use of special and visual effects. And with heavy I mean real heavy: Tokyo looks like a neon-like glow-in-the-dark heaven: there are mesmerizing and magical colours everywhere, not only in the regular scenes, but even more so in the trippy visual interludes. Enter The Void is a movie in which special effects have more meaning than just to awe its audience like in Transformers part 7. It makes Enter The Void a compelling family tragedy in supercolour.
Sadly, the movie was a financial failure. It only returned 1,25% of its investment. It must be incredibly hard to sell such a weird movie as this, but I am just happy that this movie exists right here right now.
@2 days ago with 2 notes
#galaxy quest #sigourney weaver #alien #ghostbusters #alien: resurrection #tim allen #sam rockwell #rainn wilson #david newman #star trek #alan rickman #tony shalhoub #daryl mitchell #robin sachs #enrico colantoni
Galaxy Quest (1999)
Galaxy Quest should be celebrated for many different things. It’s Sigourney Weaver’s return to space and sciene-fiction in general, after being the star in the Alien and Ghostbusters franchise (granted, Alien: Resurrection (1997), the last part of the Alien movies, was released only two years earlier) and it’s cool to see her in a less serious space adventure. The latter is also to be celebrated: in a time where there were tons of sci-fi movies released that take themselves way too seriously, Galaxy Quest is a more than welcome alternative. Then there is the rest of the cast: Tim Allen will never be my favorite actor, but his washed-up actor performance is great. The smaller roles by Sam Rockwell and Rainn Wilson, Wilson in his first movie acting gig, are a lot of fun as well.
David Newman’s typical science-fiction family friendly score blasts through the opening credits as being part of the tv-series Galaxy Quest, a show that has aired many years ago but still has a massive Star Trek-like cult following. Jason Nesmith (Allen) was the commander of a spaceship called the NSEA Protector, his crew consisted of the sexy Gwen DeMarco (Weaver), Alexander Dane (Alan Rickman), Fred Kwan (Tony Shalhoub), Tommy Webber (Daryl Mitchell) and sixth guy Guy without-a-last-name (Sam Rockwell). As a Galaxy Quest convention is on its way, some actual aliens tell Nesmith about the faith of their planet, which is about to be destroyed by bad guy Sarris (Robin Sachs). The aliens, or Thermians, based their entire existence on the Galaxy Quest tv-show since they interpreted the broadcasts as actual historical documents. Everything on the tv-show is replicated and Nesmith and the crew have to stop Sarris from destroying the Thermians and the universe.
When one takes all the events and sequences with a grain of salt, Galaxy Quest is a wonderful movie. It definitely has its cheesy and corny moments but at the same time it’s very aware of this fact. There are tons of goofs and errors: why doesn’t the cast have friends outside of their colleagues, why do the aliens speak English with each other etc., but the extra dimension the story within the story brings is wonderful. The result is not only a very funny movie (especially Rockwell is hilarious), but an exciting space adventure as well. It’s one of the most convincing space parodies there is, which doesn’t thrive on just one joke or idea, but that makes the most of its premise.
@4 days ago with 1 note
#la haine #hate #mathieu kassovitz #vincent cassel #saïd taghmaoui #said taghmaoui #hubert kounde #hubert koundé #pierre aim #pierre aïm #cut killer #dj cut killer
La Haine (1995)
La Haine is French director Mathieu Kassovitz’ most famous and celebrated movie. It is one of the first movies about the rough life in the banlieues of Paris: the title (which translates to ‘the hate’) refers to the hate that is felt between the police and the immigrant youth of the neighborhood.
The Jew Vinz (a young Vincent Cassel at the start of his career), the Arab Saïd (Saïd Taghmaoui) and the African Hubert (Hubert Koundé) are three youngsters living the hard life in the hoods of Paris. They don’t have much to live for except for each other and the general idea of getting respect from the other youth. Their friend Abdel gets beaten up during a police interrogation and the boys take much issue with this. Vinz finds a gun that was dropped by a cop during riots (during the opening credits actual footage of riots in Paris are shown, strong footage that sets the tone for a rough movie) and swears to take revenge if Abdel dies from his injuries.
And like that we follow a day in the life of the three boys. I haven’t seen many movies where the energy of a generations gets an outlet as in here. The emptiness and hopelessness of their lives is shot in beautiful black-and-white by Kassovitz and his cinematographer Pierre Aïm. The contrast the images show are in harmony with the contrast that breathe throughout the lives of the guys: they have got each other, best friends in bad times, but what is the point of it all really? The gun that Vinz finds (which isn’t shown during the movie) adds a specific kind of tension, one that gets it biggest impact in the last couple of scenes, which are predictable but impressive. But as the saying that the boys mutter goes, it’s not about the landing, it’s about the fall. The landing is good, but the fall is even better.
@6 days ago
#alex van warmerdam #pier paolo pasolini #teorema #jan bijvoet #tom dewispelaere #hadewych minis #jeroen perceval #michael haneke #sara hjort ditlevsen #annet malherbe #mike weerts #pierre bokma
Borgman is Dutch writer/director Alex van Warmerdam’s interpretation of Pier Paolo Pasolini’s Teorema (1968), in which a stranger visits a house and messes up the relationship of the family living there. Van Warmerdam is one of Hollands most interesting and original directors. In a country where its movies depend almost solely on predictable and overused narratives and poor acting, he is trying something different. The results are often absurd, but that’s only good.
Camiel Borgman (Jan Bijvoet) is rudely awakened by three people who are demolishing his underground house in the woods. He manages to flee and warn his two friends Pascal (Tom Dewispelaere) and Ludwig (Van Warmerdam himself). Still on the run, Borgman reaches a upper-class neighborhood with lots of villas. He rings the doorbell of the estate of Marina (Hadewych Minis, the weakest link of the movie) and Richard (Jeroen Perceval), where he makes a strange impression on Marina. Borgman stays for a while in the house and turns his stay into a nightmare for the family.
Borgman’s intentions remain a mystery for everybody. Why he does what he does is only known to him and his friends, but this never becomes bothersome thanks to Van Warmerdam’s focus on the regular in the most irregular of situations. The most painful and horrific scenes are shot in that calm tone that makes Michael Haneke’s work so tranquilizing, as if nothing really happens. The life of the family continues like before: Richard struggles at work, Marina is tired from being a housewife and painter and the kids go to school. Very subtle though, things change.
The symbolism appears in an exquisite way. It makes for a satire in a compelling plot to look out for. What is really happening might be left in the dark for too long, but it will haunt you for some time after watching it. Borgman is not your everyday thriller, it gives you the creeps in an awkward way.