Film#11 - The Hangover, 2009, dir. Todd Phillips
This film made me completely rethink what I said about I Love You, Man. If that was a step in the right direction, this is, I don't even know. It's driving a car, that's how much better this is. Right from the start this film is just so cinematic and beautifully composed. I would think everyone has the basic premise of the film from the title alone, but it's basically three men trying to remember what happened the night before. Zach Galifianakis' character was actually shocking at first, as he was nothing like I expected from whatever promo material I had seen. The story is winding and unlikely, but the unique characters and truly hilarious dialogue carry this film beyond good comedy but just a good movie.
8.5/10
Film#12 - The Devil Wears Prada, 2006, dir. David Frankel
It's only fitting I review this film, for obvious reasons. I considered do this last but I couldn't help myself. This is the first film of the year that I've already seen, but I find it absolutely fascinating. I couldn't resist. To be honest, I could talk about this film for hours, but I won't get into that here. First and foremost I find it strange when people consider this a 'chick flick' or tease me for liking it. This has led me to believe this may be one of the most misinterpreted films of recent history. People seem to think this is a movie about fashion, and while it in some way it is, it's more of a story critiquing fashion, but more importantly it uses fashion as a means to explore larger questions. I find it difficult to understand how people consider this film about fashion when the antagonist (Meryl Streep) is the largest advocator for fashion. Anne Hathaway loses everything that matters in her life the deeper she falls into the ideology of the industry. How that doesn't translate to audiences is beyond me. I admit I've seen this many times before, and during this last viewing I found myself changing my views on various aspects quite dramatically. I had previously thought Simon Baker's character was pretty much a dick, but now I see him as more of a regular person dealing with the situations he's put in. The entire art show scene is possibly my least favourite part, mostly because every character acts so illogically and overreacts to a point that it would seem the entire scene was written just to bridge sections of the film, without much though as to character motivations at the time. This is a great movie though, taking a fairly unique backdrop to tell a compelling story.
8.5/10
Film#13 - The Fisher King, 1991, dir. Terry Gilliam
I can't say I'm a Gilliam fan. I hated Brazil, Monty Python and Fear and Loathing, which probably throws up flags for a lot of people right there, but I honestly think those films rely too much on bizarre aesthetics, characters and dialogue to carry the film along. I did however like 12 Monkeys, but that's neither here no there. The Fisher King started out in typical Gilliam style, which I'm sure many people love, but it loses me right off the bat. However, it was as if he toned down the over-the-top-ness as the film progressed and began a phenomenal tale unlike anything else. Robin Williams plays an eccentric homeless man, while Jeff Bridges is a failed radio personality. Through coincidence the two meet and strike up an unlikely friendship, although Bridges pretends to only be interested in paying Williams back for a debt he feels is owed. A strange story, but one that inspires all sorts of optimistic ideas.
8/10
Film#14 - Mildred Pierce, 1945, dir. James M. Cain
Again we have an old melodrama I wouldn't expect to like, and once again my expectations are wrong. A fragmented story that expands from the first scene, exploring the aftermath of a murder as well as the events leading to it, Mildred Pierce is almost like Slumdog Millionaire, except I enjoyed this film while I hated Slumdog. Jack Carson constantly hits on Mildred in a way I would expect her to slap him from the moment he comes on screen. His sexual advances are constant and completely uncalled for, which on one hand makes me hate seeing his character, while on the other hand makes the film somewhat more realistic as the plot continues and gives a clear distinction between characters.
7/10
Film#15 - Barton Fink, 1991, dir. Joel Coen
One of the more 'arty' films by the Coen brothers, in the sense that I feel critics enjoyed this film more than audiences did, or would as I imagine. I almost feel like not much happened in the film, but at the same time that shouldn't take away from it's value in the slightest. John Turturro plays a playwright commissioned to write a 'wrestler picture' without any knowledge of what it should be. Living in a rundown hotel, he meets his intensely friendly neighbour, played by John Goodman, who simply lights up the screen (to be cliche). I'll be honest, I never considered Goodman to be a serious actor, as my impression of him was almost solely based on Roseanne, but in the past little while that opinion has drastically changed. I also must point out I was sure John Goodman had been dead for some time, when in fact that was just an internet rumour. Anyways, this film has all sorts of motifs flying around (the mosquitos, the peeling wallpaper, the shoe shining, etc) that I must admit have gone right over my head, although I'm sure they must have some sort of significance. Just like the ending speech to No Country For Old Men, this film leaves much up to interpretation, taking quick turns in plot that are often unexplained. Maybe I'll change my opinion of the film when I figure out what these things mean, but as of right now, I throughly enjoyed this movie and would love to see it again.
8/10
