The more I watch French cinema, the more I appreciate the way it turns subtlety into an art form. "Diabolique" and "Wages of Fear" pull this off masterfully, and Max Ophuls' "The Earrings of Madame de..." is another great example of taking performances built on undertones and small moments and turning it into a gripping movie. The structure of the film is entrancing, where something as insignificant as a pair of earrings seem to be controlling this story, manipulating each of these characters like a master train conductor trying to orchestrate the biggest accident possible without any other train knowing. The film is elegant, yet is quite possibly the most greedy and selfish movie I've ever seen, creating this seedy undertone to an extravagant time and period that is quite frankly mesmerizing. If you're looking for the best drama that France has to offer, look no further than "The Earrings of Madame de..."
Final Grade: B+
Jordan Peele has quickly and rather quietly managed to capture an all-too familiar fear that seems so relevant, yet somehow has hardly been touched by Hollywood. It's a fear of identity and what makes us who we are, while turning that on its head so that society would exploit that as if it were a weakness. "Get Out" was inventive and subtle with that, crafting more of a modern mystery with dark underbelly, while always remaining as sharp as a tack and as witty as a comedian, all working to Peele's strengths.
His newest movie, "Us," takes on more of a horror route yet is somehow even more personal and grand than "Get Out." Everything from the cinematography, to the music, pacing and performances creates this unsettling environment that shows that true horror comes from our own minds rather than our guts and blood. And yet, this feels like the most intimate horror movie in years, plaguing on fears we all have in a way that reminds me of the best "Twilight Zone" episodes. For this reason, I'd even go as far to say that "Us" is better than "Get Out."
The film follows a black family, the Wilsons, as they go to Santa Cruz for a summer vacation. The mother, Adelaide (Lupita Nyong'o), is resistant to going to the nearby beach after a traumatic event that happened on that same beach when she was a child where she ran into some girl who looked exactly like her. When the son, Jason (Evan Alex), goes missing for a few minutes, the family heads back home, only for a group of four people wearing red gowns and carrying scissors to stand in their driveway that night. When the four attack the family though, the family finds out that they all look exactly like them.
To be honest, I can't think of a more horrifying concept than a copy of yourself that wants to kill you. This isn't just a stranger or a random psychopath - it's you. They know you, how you think, what terrifies you the most, because they are connected to you in ways no one else can. It would be like if your reflection suddenly attacked you just so they could replace you. How can you hate or despise something like that when they have your face?
"Us" plays with this concept more than any other horror film I can remember, turning that unsettling cinematography and pacing against the audience to make it feel like they're always being watched. Even in more subversive and subtle ways, like through mirrors, parallels and use of shadows, all to add the crisis of identity. The performances of Lupita and Winston Duke only make this even creepier, as they both mother and father and their doppelgangers, who have an agenda of their own as they seem to resent their reflections and their happiness. For most directors, having every performer play two roles would be a daunting and cumbersome job, but Peele pulls this off masterfully.
Overall, "Us" is a masterpiece of horror, playing with a horror of the mind and identity. Jordan Peele brings the same atmosphere of suspense, warmth and mystery that he did in "Get Out" while cranking up the horror and intrigue to unsettling levels. It never gets dull, every performance nails it, the script is just as sharp and witty as you'd expect from Peele, and it is still giving me something to think about long after I've watched it, which is always the sign of a truly great movie.
Final Grade: A
For a lighthearted musical about sailors falling in love with total strangers and a city, "On the Town" excels at being fun and joyous the whole time. It often feels like a precursor to "Singin' in the Rain" with its elaborate dance numbers and choreography, while also feeling very much in tune with films like "West Side Story" in how it uses New York City as its own character. But what really sets this apart from those other films are the songs and how they feel like smooth poetry, especially when they're sung by Gene Kelly and Frank Sinatra.
The romances between the three main leads and the eccentric women they meet start out a little off-putting, especially between Sinatra and Betty Garrett as a crazed taxi driver that falls for him at first sight, but considering the spotaniety of the film and its characters, it fits everything else and has a lot of great comedic moments. Overall, you can see how "On the Town" influenced many other musicals like "Singin' In the Rain" and "The Sound of Music," and easily see why it is considered one of the more accessible and enjoyable musicals of all time.
Final Grade: A-
Number 5 - "The Ballad of Buster Scruggs" (2018)
I can't remember a film that encapsulates so many of the wonders and horrors of the old west quite as well as "The Ballad of Buster Scruggs." There is a love for the old west that is unparalleled, showcasing why so many people braved the harsh and unforgiving landscape and the joys and tragedies that came with it, like going out for buried treasure. Every vignette is crafted so meticulously with that classic Coen style that I can't help but love every part of this movie.
Number 4 - "The Big Lebowski" (1998)
More than anything, I think I love the philosophy of "The Big Lebowski." One could argue that the film is about nothing and yet is about everything at the same time. It has no meaning, and yet that gives it a purpose. It is both genius and idiotic. All of this is accomplished through the character of the Dude, who encapsulates a generation of people trying to find meaning in a harsh and unforgiving world by making peace with themselves before anything else. The Dude might be one of the most likable characters in cinema history and his lifestyle is certainly the most memorable thing about this movie.
Number 3 - "O Brother, Where Art Thou" (2000)
There's such a simple charm to "O Brother, Where Art Thou" that I can't help but love. There's something about taking the tale of the Odyssey and setting in the deep south while filling the air with catchy blue grass music that feel so heartwarming. It feels familiar and oh-so simple, and yet just fantastical enough to get engrossed in these hyper-active characters. The film is so vibrant and lovable that I can't help but say it's one of the Coens best films.
Number 2 - "No Country For Old Men" (2007)
For most people, it's always a toss-up for the best Coen brothers film between two choices. And while those two are my top two, it is always a difficult choice for me as to which is better. But if I had to pick, I'd put "No Country for Old Men" in the second spot. This is probably the best modern thriller, playing up the silence and loneliness of its three main characters as it delves into the unpredictable mind of a psychopath. Javier Bardem plays one of the greatest villains of all time, while Tommy Lee Jones brings it all back down to Earth by showing just how much people have changed and whether or not we can reason with this new breed of criminal. One of the most well-shot, suspenseful and terrifying movies I have ever seen.
Number 1 - "Fargo" (1996)
But after a lot of thinking, I can safely say that I prefer "Fargo" over "No Country for Old Men" for one very simple reason - Marge Gunderson. Not only one of my favorite film characters ever, but one of the most greatest characters in cinema history. Without her, "Fargo" is about a bunch of losers and morons desperately seeking something that they hope will bring them happiness. And yet, Marge reminds the audience what true happiness looks like. The film is a cautionary tale, while reminding the audience what really matters in life. It is uplifting, comforting and very funny in how pathetic some of its characters can be. Throw in some spectacular cinematography and feeling right at home with its Minnesotian charm, and you get one of the greatest black comedies of all time.
I'm often hesistant to write a negative opinion on a critically-acclaimed art-house film such as "The Master," since I fear that it would just come across as me not understanding the deep message of the movie and how I just don't get it. But it's not that I don't get what P.T. Anderson's "The Master" wants to say, it's that I don't care. "The Master" never really did anything to draw me in, or immerse me in this strange cult that the titular Master (Phillip Seymour Hoffman) runs, or do anything to make me care about this drunk (Joaquin Phoenix) trying to turn his life around. While Anderson's style is often trippy and thought-provoking, especially in the many trips through Phoenix's past, every character is either unlikable or brainwashed, but almost always unenthusiastic, aside from Hoffman. The standout scene is Hoffman delving into the depths of Phoenix's mind and watching him slowly open up to him, watching that conversation unfold like taking the bandage off an old wound. It's a rather unpleasant movie with gorgeous cinematography, but a lackadaisical pace and filled with characters that are often infuriating. For a modern arthouse film, it is servicable.
Final Grade: C
Even in adapted works, Guillermo del Toro's definitive gothic-horror style shines through in all of his work. I'm honestly surprised it took me this long to watch "Hellboy," because it is the kind of dark alternative superhero film I would have loved even when the only thing I watched were Godzilla movies. "Hellboy" is oozing with creepy details and even more disturbing characters that want to bring about even worse evils than Nazis, all while having that authentic del Toro style of makeup and set design that always sends chills up my spine. My only complaints involve some of the superfluous characters, such as the FBI agent trying to befriend Hellboy (Ron Pearlman), and some plot points that don't go fully explored, such as the relationship between Hellboy and his adopted father (John Hurt). I think this film could have been a little more developed and polished, but for an early 2000s supernatural superhero film, this is far from bad.
Final Grade: B
It has been close to six or seven years since I've seen an Italian neo realist film, and while watching "Umberto D." I suddenly remembered why I'm not a fan of the film movement and why I haven't watched one in years. There is a certain appeal to the genre - no actors, no big Hollywood stories that try to play up reality for dramatic reasons, just real people living their lives in a harsh post-WWII world. "Umberto D." certainly has this in spades, as a retired government worker (Carlo Battisti) does everything he can to not get evicted from his home without anyone to help besides his pregnant neighbor and his dog.
But, like so many other neo realist films, it never succeeds in pulling me in. Despite the vivid unforgiving world it paints, and the struggle it creates for its lead character, Umberto seems like such a lifeless character as he waddles from scene to scene aimlessly. Part of the problem could be the whole "casting actors with no acting experience" experience of neo realism, they just can't convey the passion and emotions as well as expressive actors.
Final Grade: C-
