JayDee's Movie Musings

Thanks Prestige. To be fair I think it had a lot to do with the fact I've been a bit down and feeling sorry for myself the last week or so. But it's nice you back me up. For the most part my reviews have gotten at least 5/6 rep points, with some (Avenger, Take Shelter, Day of the Jackal etc) proving really popular. Just a couple here and there that don't seem to have caught the imagination of people the same way. And the way I'm wired I torture myself thinking why - are the reviews of poorer quality? Are the films not as popular so people can't comment on them? Is my view in the minority? Anyway thanks for that.

Thanks again. Will most likely keep them up, given the time and motivation that is. And yeah there are a number of people like yourself who are regular readers/contributors which I greatly and massively appreciate. Hopefully over time I can build up my readership.


Sorry to hear that while you liked it, you didn't love it.

It was quite close, and I could see it having the chance to climb up on repeated viewings perhaps.

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For my part, I rarely read reviews of films I have no interest in or don't like. Hope that makes you feel better.

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5-time MoFo Award winner.

Oh much!

Though I did get you to go through my reviews of Hopscotch and Some Like it Hot. Both quite an achievement I thought!

Absolutely. Especially Some Like It Hot, as I'd actually seen that one. See, that's how good you are. You can even get honeykid to read a review of a film he didn't like much, but you loved.

See now that actually did make me feel better! Thank you. Now all I need is for you to give me the line again about how I've really stepped it up recently, it's been a few weeks after all.

Plot - Nina Sayers (Portman) is a ballet dancer striving to win the lead role in a new production of Swan Lake. The director (Cassel) sees her as the perfect fit for the white swan, but wonders about her ability to portray the black swan. Under the domineering power of her mother (Hershey), and with competiton from new dancer Lily (Kunis), Nina attempts to channel the darker character elements of the black swan, but with detrimental impact to her mental wellbeing.

A few years ago on another forum (not a movie one) there was a topic with the title 'Natalie Portman/Mila Kunis lesbian film.' And in it a bunch of guys were salivating over the thoughts of it, and already praising Aronofsky as a legend/hero/God. Sadly that board closed down but I would have loved to read the reaction of those same people. While there may be one scene that matches the dreams they were forging, the package that surrounds it probably isn't what most of them were imagining.

I found this to be a strangely hypnotic viewing experience. I had actually only planned on watching the first 30/45 minutes, finishing it the next day. However I got so caught up in it that I ended up staying up into the wee small hours to watch the whole thing. Despite its prominence in the story this is not really a 'ballet movie'. The ballet just acts as the background for a story of a psychological breakdown, feeling reminiscent of my recent Take Shelter viewing. It's an exhilaratingly intense and wildly melodramatic production, certainly one that makes an impression and is unlikely to leave my memory anytime soon.

You could throw many labels at this film; 'subtle' however would not be one of them. Aronofsky's style is not that of a shrinking violet, coming across as very in your face. His constant use of mirrors (it feels like there is a least one in every single scene) is a rather predictable motif, and one that is certainly drummed into our minds. Its tremendous overuse ensures that it's unlikely to be missed by anyone. Metaphors are laid on very thick throughout, with the melding of both worlds being very obvious as the similarities between Nina's life and the story of Swan Lake begin to pile up. Indeed when she's in a bar relaying the plot of the ballet to a potential suitor, she pretty much telegraphs the remaining details of the story, including its finale.

In many ways the film actually felt very much like one of the classic Grimm fairytales. Despite some fantastical and fanciful elements, and moments of beauty, they are established in amongst a sinister and haunting atmosphere. With its phantasmal and chimerical nature we really do find ourselves placed firmly within the mind of Nina. Luckily I'm not one who is prone to nightmares. The few I have had in my life however really did quite resemble this film. They were fractured, disjointed, irrational and nonsensical.

While there is much to find odd and unsettling about the film, for me it was none more so than in the rather creepy mother/daughter relationship between Portman's Nina, and her former ballerina mother, Erica. Their interaction is that of a mother and a much younger little girl. The mother controls and suffocates her, while Nina speaks in such a young and submissive demeanour, even calling her 'mommy.' This apparent youth is also highlighted by Nina's bedroom. With its fluffy animals and wallpaper of pink hearts it feels like it hasn't been altered since she was about seven years old. She seems trapped by her mother's obsession and constant control. That along with her obsessive love of ballet and quest for perfection have created limits for the character in terms of emotions, sexuality and her mental acuity. It actually makes for a fun contrast with Leon were she played a young girl with emotions and thoughts well beyond her age.

After having such acclaim heaped on her I was initially underwhelmed by Portman's performance, even verging on finding her faintly annoying, particularly her mousy little voice. I was starting to wonder what all the fuss was about, and then her breakdown begins to intensify and she starts her transformation. From then on I was just completely hooked and mesmerised by her. It's a truly bravura performance as her innocence and virginal appeal give way to the Black Swan's darker traits and characteristics which bleed from the stage into her real life. The closer she gets to the perfection she craves, the faster her sanity ebbs away until she completes her transformation, in the process reaching her 'perfection.'

As her counterbalance Mila Kunis is the perfect embodiment of the Black Swan, delivering a truly sensual and edgy character. And doing so with the kind of ease and natural disposition that her character is attributed with in ballet terms. After hearing so much about their performances however the one that pleasantly surprised and intrigued me was Vincent Cassel's turn as the director, Thomas Leroy. He is a terrifically domineering and wonderfully arrogant presence. It was also a nice surprise and a treat when Winona Ryder popped up.

While you could put up a decent argument that Aronofsky's direction verges into some overwrought and pretentious territory, there is also much to admire and be supremely struck by. The camerawork in particular is impressive and effective. It frequently finds itself very tight to Portman; following in her footsteps, creating a very claustrophobic and paranoid atmosphere that reflects her own obsession and deteriorating mindset. And the way that the camera swoops along with each ballet movement gives the dance scenes a great deal of life and energy, and in turn beauty. Visually the film is stunning. The art direction and cinematography make for a lush environment. More successful a motif than the abundance of mirrors is the use of colour, with an affluent amount of blacks, greys and whites dominating the screen. This goes for the surroundings as well as the fashion, with Nina's clothes moving from white to black by way of grey.

It's certainly not a perfect film. The story isn't all that original, with a number of clichés kicking about. The film is a bit gauche and overly pulpy, at times descending too deep into horror territory, all lead by Aronofsky's somewhat dogmatic and peremptory direction. It would also have been nice if they had kept a little doubt about Nina's mental state. Right from the off it's made clear that it's all as a result of her mental deterioration, and nothing to do with Mila Kunis' character sabotaging her. However, none of this was close to enough to put me off.

I was in a bit of a quandary over the rating to award this film. It's the type of film were I feel I could really do with a repeat viewing to fully get a grasp of it and cement my opinion, but at the same time I'm not sure its a film I'd be in much of a hurry to revisit all that soon, or indeed that often. With its dark tone and macabre visuals, and its concept of having to destroy yourself to make art I wouldn't class it as fun viewing. While I perhaps wouldn't go as far as calling it a tough watch, it certainly isn't an easy one. My score was fluctuating; at times it was both higher and lower than the end product, but I settled on a solid 8.5, but certaily with the potential to grow.

Conclusion – A film of nightmarish beauty, full of striking images and led by a stunning, powerhouse showing from Portman. It's clear to see why it proved to be quite a polarizing film, it's certainly not for everyone. But it was for me.

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Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
Buddha

Not seen Black Swan myself but it seems to me, judging from the press and all the recent reviews that it's a Marmite movie. Either love it or absolutely hate it.

Top review though, cheers matey.

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When you say Black Swan, elegance comes to mind.

Hello again Nebbit. Nice to have you and your monosyllabic ways here.

I'm actually quite proud of that. Clearly I summed the film up so perfectly in your eyes that you needed no words, just a simple smilie.

Considered putting in that it was a Marmite movie, but decided to try and be a bit more highbrow and high falutin with some fancy words like polarizing. Describing it as Marmite just seemed a bit simple and common.

Thank you very much

yes not much of a typist

Plot? - F**ked if I know!! No I'll have a go. In modern day London we meet a trio of characters. A troubled and suicidal young woman (Eva Green) who uses her suicide attempts as part of an art project; a heartbroken young man (Sam Riley) who while recovering from a break-up catches a glimpse of his childhood sweetheart and a father (Bernard Hill) who comes to London to search for his missing son. While in the parallel world of Meanwhile City a masked avenger named Preest (Ryan Phillippe) fights against the oppressive Ministry while trying to track down a killer.

I was really hoping to like this. I mean really, really wanting to. It sounded weird and quirky enough to be right up my alley. And it sounded like it could be such a cool cult film to love, one that was little known. A film that I could baffle people by mentioning and introduce them to. However it just didn't happen. My viewing experience was actually just about the exact opposite of Black Swan. I really struggled to get into the film, eventually finishing it across three different sessions. And there were a couple of occasions were I contemplated abandoning it.

While I admire the ambition behind the film there were just way too many flaws for me to really connect to it. The film is incredibly slow moving for the first hour, just taking way too long to really get going. The scenes set in modern day London are extremely drab and grey, both in its aesthetic and tone. Its meagre budget really does seem to show in these scenes as it appears very cheaply shot, like a run of the mill British TV drama. Its characters lack depth and its screenplay is weak. It has lots of ideas, too many if anything. They've all just kind of been thrown together and resulted in a bit of incoherent mess. There is also some cringeworthy, self-indulgent dialogue; especially when it comes to Ryan Phillippe's voiceover as Preest. Going for a graphic novel, Rorschach from Watchmen feel it just feels so pretentious, pompous and overwritten. And as for the acting, it's alright but nothing to get excited about. Eva Green certainly demands and gets your attention, but it's in quite a big, hammy way. And while Sam Riley is decent, he's unremarkable.

It does have some plus points however. Bernard and Hill and Ryan Phillippe both deliver strong performances. And the setting of Meanwhile City is extremely well realised, especially when you take the smallish budget into account. It may not be spectacularly original; it's a gothic, Terry Gilliam-esque world which we have seen before in films like Dark City and The Matrix etc, but it is striking and imaginative. An incredible amount of work appears to have gone into designing all of its features, including its sets and costumes. And it's take on a world dominated by religion is intriguing, even if attempts at satirical humour don't really work, coming across as just too silly to take seriously. For example there is a whole religion built around painting nails, and a bible that is really instructions for a washing machine. It feels like something you may find in Douglas Adams' Hitch-hikers Guide series but without the charm or wit to pull it off, and not in keeping with much of the film's tone.

Now if the whole film had been set in Meanwhile City, then you would have a film that I'd be interested in seeing. One flaw with the brief time spent in Meanwhile City is that it just further highlights the drabness of the real world scenes. As a result what we have is a bit of a mash-up of graphic novel and grimy British TV drama.

The film is just about salvaged by the last half hour or so. Finally the strands start to come together and make sense of everything, even if some of the resolutions feels a little weak. It's only in that home stretch that the film begins to approach fulfilling the potential the premise and trailer gave it. By then however it had just about lost me already.

This film has actually received the lowest score of my extended reviews. While The Omega Man was perhaps a poorer film it was more enjoyable; even if it was in a cheesy, so bad it's good kind of way. While The Incredible Hulk got a higher score I think I'd be more likely to give Franklyn a repeat viewing. I know what Hulk is all about and don't see myself rushing to see it again. This however may have something to it, and perhaps I'll discover it next time.

Conclusion – While at times stylishly shot and with some interesting ideas, trying to make sense of everything just wore me down to the point were I was struggling to care. By jumping back and forth from reality to fantasy it tries to do too much, spreading itself too thin and just not satisfying on any level really.

Plot – Hedwig (Mitchell) is a transsexual punk rock singer from East Berlin. After her ex-boyfriend, Tommy Gnosis (Michael Pitt) becomes a huge rock star by stealing her songs, Hedwig follows his tour, playing a tour of her own with her band. Along the way we learn about her story and how she has ended up here.

This film plays like the love child of This is Spinal Tap and The Rocky Horror Picture Show. Telling the incredible, fantastical tale of Hedwig it sort of feels like a surreal, sex-fuelled Forrest Gump (even linking the story to a historic event). Going by that plot, those thoughts and its unique genre placing as a camp punk-rock musical/opera on the surface you would expect this to be nothing more than just loud, brash and superficial. And while there may be an element of that there is also so much more here than just that. It's a film that is full of heart and sincerity. A film that toes the line between humour and poignancy. A film that is both joyous and heartbreakingly tragic. I may even go as far to say that it's a film that is rather oddly beautiful.

For an outsider looking in you may think the film and the character will not have much to say to you, much for you to identify with. After all who is going to be able to relate to the story of an East German transsexual punk rock singer? Except that it's so much more than that, it's about themes and emotions that are almost universal. It's about feeling lost and like an outsider, trying to find a place to belong. And it's about dealing with love both lost and found. As a result we can probably all relate to Hedwig in some way.

This is just a stunning effort from John Cameron Mithcell. As the film's writer, director and star its a truly immense accomplishment for him. His direction is raw, but so effective at imbuing the film with such a voracious energy and life. His script is a terrifically witty and fun affair, teeming with acerbic humour. And as the self described "internationally ignored song stylist" Hedwig, Mitchell's performance is just a revelation, absolutely mesmerising. It's probably the most I've enjoyed any performance in quite a while. Hedwig is like a cross between Lady Gaga and....and....no actually just comparing her to Lady Gaga just about does it! Well perhaps with a dose of 70s era David Bowie thrown in. The character is outlandish and very funny, but is also a fragile and rather sad creation. Mitchell brings so much depth and emotion to the role, grasping both the caustic humour but also the melancholy of Hedwig. And the fact that he has a stunning voice doesn't hurt either.

Of course this movie would not work in any capacity whatsoever without the songs. And what an amazing success they are. Written by Stephen Trask they seem to channel a bit of a Ramones vibe and are just absolutely infectious. It may have been only my first viewing but before long I already found myself singing along to them. What is most impressive about them is that they are not just purely throwaway efforts only for entertainment. Each song plays a part in moving the story along, detailing Hedwig's journey to this point and adding layers to the character and his emotions. I don't think there's a dud song in the bunch, and my personal favourites would have to be the bonkers but brilliant “Origin of Love”, the fun and sweet “Wig in a Box” and the lovely “Midnight Radio”. Though the one I've been singing most since then is actually “Angry Inch.”

While Mitchell is tremendous there is someone who comes damn close to matching him – Michael Pitt as Tommy Gnosis. As the lost, troubled soul he is great but it's his scenes alongside Mitchell that are truly remarkable, the two sharing a terrific chemistry. Of special note has to be their final scene near the end of the film. With both men exposing their flesh and their souls it is a very powerful and beautiful moment. They don't actually say a single word, telling the whole story with their facial expressions and it is just wonderful.

The film also looks tremendous. The clothes, make-up and sets all have a tremendously flamboyant and extravagant feel to them. Hedwig's preposterous hair, full-on makeup and series of sensational, garish costumes make it a lush, glam rock style picture to behold. Oh and there is also some lovely use of crude but delightful animation, which is just insanely charming. This is especially true whilst accompanying Origin of Love.

Was this something you stumbled across yourself, JD? I adore this film. It's another of those film, like Chopper and Ginger Snaps, that I push onto anyone I think has any chance of enjoying it.

I blind bought the DVD at the start of the year but can't remember how I became aware of its existence. Not sure if I stumbled across it on amazon, or if it was something on here or on a list/site of cult films. Can't remember.

Plot – When his parents are killed, veterinary student Jacob Jankowski (Robert Pattinson) abandons his studies and joins a travelling circus as a vet. While there he meets and begins to fall in love with Marlena (Reese Witherspoon), the circus' star performer. Unfortunately she is married to the circus' ruthless and sadistic owner, August Rosenbluth (Christopher Waltz).

This is a really quaint, old fashioned kind of film. It's a film that tries and often succeeds to capture the wonder, joy and excitement of the circus of that era; back when it was seen as romantic and adventurous. And with some impressive production values it does feel like a product of a Hollywood of long ago. It has quite a strongly reminiscent Titanic vibe to it. We are informed right from the off that a big disaster is going to befall the circus, and we are lead there by the recollections of an elderly character who was there at the time and survived to tell his tale. This time the narrator comes in the form of the always charming Hal Holbrook as the now elderly Jacob.

Much of the film is undoubtedly predictable. We pretty much know exactly were the story is going all the way through; the only element that creates doubt is Christopher Waltz's unpredictable August Rosenbluth. The romantic triangle storyline is fairly standard and formulaic stuff, although its setting of a Depression-era travelling circus does at least feel somewhat fresh. However while it's predictability and familiarity may normally be a problem, somehow I felt it added to my enjoyment. It just makes it feel comfortable, sweet and reassuring somehow.

I've never seen a Robert Pattinson performance but have to admit I came in with a bit of prejudice towards him, just because he was 'that guy from Twilight.' Now while I may not have been blown away by his showing, he did win me round with a fairly nice solid performance. Revisiting the Titanic comparison however, I didn't really see enough that made me feel he could match the film's heartthrob, DiCaprio, in terms of acting ability as he grows older. Reese is perky, likeable and looks beautiful in her series of costumes but like Pattinson is sabotaged by a rather bland, one-note character.. So with both stars giving amiable performances it's just a shame then that together they don't really have any chemistry. Indeed I'd say that they both share better chemistry with Waltz. Speaking of which, Christopher Waltz is the character who most grabs your attention, even if it is in a horribly fascinating manner. Against the fairly bland Marlena and Jacob it's his character that is most complicated and interesting, and his performance makes him suitably dastardly. He is a despicable man who abuses human and animal alike. What makes him such a frightening and ruthless presence is his unpredictable nature. One moment he is charming and jovial, and then sadistic and maniacal the next.

Despite Waltz's magnetic showing he may not actually be the star of this show. That honour arguably going to the loveable pachyderm, Rosie the elephant. Now perhaps it's just my imagination anthropomorphising her but she seems to convey so much emotion through her face and voice. As a result of how loveable she is the mistreatment that she suffers, while predictable, is still very unpsetting.

Now I haven't read the book so don't know if it's been lifted straight from there or not but unfortunately there is some cringingly cheesy and pretentious dialogue present. Some of my favourites? “I don't know if I picked that circus, or if it picked me.” and “You're a beautiful woman, you deserve a beautiful life.” There is also a spectacularly silly and laughable moment were Marlena tells Jacob to “Bring Rosie to my tent and don't tell anyone.” As if he will be able to lead a massive big elephant through a circus without anyone noticing the bloody thing!

Sadly the disastrous finale that the film has been building to from the opening moments proves to be underwhelming. It starts, and then it's done. Just like that. It really is over way to fast and just doesn't satisfy. Another let down is the use of the films many colourful characters. Sadly they feel wasted. And while the romance between Marlena and Jacob isn't catching on fire, you get the feeling that around the next corner or in the next carriage a much more interesting story is going on.

The main plus point of the film is most definitely the craftsmanship involved with the technical elements. Some of it is just exquisite. Jack Fisk's production design is just fantastic to behold, though coming from the man behind There Will Be Blood that shouldn't really come as much of a surprise. Jacqueline West's costumes lend the film a real air of grace and life. Witherspoon looks stunning in an array of wonderful costumes, while the outfits that the lower class members of the circus wear look suitably grubby. There is also some stunning, glossy cinematography on show. Indeed had the film as a whole been better an Oscar nom or two may have found its way to the film. And the fact that this world is created with real locations and sets, with little computer trickery, is a really nice touch. And one again adds to its old fashioned vibe. The circus and train are given a real character and personality of their own. The train in particular really is like its own little world. A world with its own rules, its own language and a strict social pecking order.

Conclusion – While not a ground-breaking or earth-shattering film, this is very pleasant and likeable stuff – eminently watchable. It feels like it could become a permanent TV fixture on a lazy Sunday afternoon.

Was very under whelmed by this movie Thought Paterson while cute, very wooden didn't feel any chemistry between him and Reece

Nice review

Can certainly understand that. While I did enjoy it I wouldn't argue for it being a great movie or anything. I was just in the mood for that kind of film, something easy to watch and fairly un-challenging. And yeah Patterson isn't great but I cut him a break as he wasn't as bad as I thought he would be!

And thank you very much.

Plot - A look behind the scenes of a real estate office and the employees that work there. These employees include the swaggering and successful Ricky Roma (Pacino), the once legendary but now downtrodden Shelley Levine (Lemmon), the bitter and foul tempered Dave Moss (Harris) and the bumbling George (Arkin). All of these men work under the green and incompetent office manager, John Williamson (Spacey). Given an ultimatum by consulting salesman Blake (Baldwin) to sell or get out, we follow the desperate scramble for survival.

This is an extremely bitter and cynical little film. Resonating the feeling of Death of a Salesman it is a true indictment of the American dream. A character study of a group of men who are mostly over the hill, whose time has passed, and the morality and corruption with which they lead their lives. It would be unfair to call this film a one trick pony. Unfair because it's actually a two trick pony! The film pins all of its hopes on two things – acting and dialogue. And if neither of them grab you then you're not really going to find anything else to like. Luckily for me I found both to absolutely excel. Though it may not give me much to talk about, will just see how we go here.

Just looking at the cast list I knew the acting was going to be of high quality. I mean with Jack Lemmon, Al Pacino, Ed Harris, Alan Arkin, Kevin Spacey, Alec Baldwin and Jonathan Pryce you know you're most likely in for an acting masterclass; after all it's got to be one of the most impressive ensembles ever assembled. But even I was stunned by just how good the performances are.

They are aided tremendously by Memet's sharp, note perfect script which doesn't pigeon hole the characters. They are allowed to express wildly different personas and moods. Pacino's charismatic Ricky Roma seems to be an arrogant, big mouthed egocentric, and yet later we see that he seems to genuinely care about the woes of Arkin's George, and truly admires and respects Lemmon's Shelley. And then when his deal with Jonathan Pryce's buyer falls apart his bravado just ebbs away. And the moment where he explodes in a foul-mouthed tirade at Spacey's office manager is highly entertaining. Ed Harris and Alan Arkin have a highly amusing double act of a sort going. Harris as the short-tempered, cynical Moss; and Arkin as a bit of a bumbling fool, seemingly unable to complete a single sentence or thought. Their conversation were they sort of plan the robbery is a terrific back and forth. Oh and while his appearance is only brief what an impact Alec Baldwin makes as he seems to channel Lee Emery from Full Metal Jacket. What an incredible little s**t he is! Despite that exceptional line-up for me the limelight has to go to the legendary Jack Lemmon.

Lemmon is truly magnificent. How he wasn't even nominated for an Oscar is just beyond me. His portrayal of Shelley 'The Machine' Levene, the old timer whose time is just about up, is truly something to behold. You really feel the sheer desperation of his situation at the start of the film. This is a man who is hanging on by his fingertips and is in danger of losing his grip at any moment. And the big act, full of false bravado he puts on for potential clients just feels so pathetic, especially when he goes to visit a man at his house who has no interest. He is such a sad character that you can't help but feel for him. And then when he has finally broken his losing streak the change in the character is terrific. All of a sudden the swagger and arrogance are back. To use a Scottish saying he is very gallus at this point. And then it turns on him again and he is plunged back into the depths of despair, though being the salesman that he is, he believes he can still talk himself out of trouble right up to the very last moment.

Mamet's script delivers a film that is occasionally funny, and frequently quite sad and mournful. Humour is derived mainly from the characters of Roma and George, while Lemmon's Shelley is the main deliverer of the sad and melancholy. Though really all of them create that sad atmosphere. While on the phone or face to face with potential clients they exude a great confidence and phony success. And yet while doing so their eyes can't hide their despair and defeatism. These are men who are slowly drowning under the great pressure they work on, desperately trying to survive. The script is one of the most densely written and verbally bountiful films you're likely to find. And despite there being so much dialogue at no real point does it feel all that written. It all feels greatly natural and realistic, if incredibley foul-mouthed!

With its theatre roots it's not surprise to find that the action takes place mostly on just a single set. It gives the whole film a claustrophobic and desperate atmosphere. And with the very few scenes outside taking place in dirty, rain-swept streets it really does create a picture of a grey, harsh hellish underworld that these characters are trapped in. To be fair to the director given the tight surroundings the camera movement is able to create a little bit of life and energy so we don't feel too trapped.

Conclusion - Despite being saddled with a truly awful title this is a terrific, magnetic film. Undoutedly deserving of its reputation as one of the great dialogue heavy films about. And what an example of acting! Though in the end I felt a little like one of the customers that the salesman try to fleece. Initially I was just hugely impressed, but then as time went by niggles started manifesting in my mind; such as what was the real point, there was no great story to speak of. That said, still great stuff.

One of the relatively few films we differ on, then. Loved the performances (Lemmon, Spacey in particular) but mostly I thought it was flat and uninvolving.