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Reviews
I Care a Lot (2020)
A completely unpleasant experience
Clearly Netflix has given up. My only regret is that I sat through this whole movie and now the studio will use that data as justification for making more of this contrived shlock. The screenplay is absolute garbage: awkward at the "comedic" moment and laughable during the dramatic sequences. The plot is so convoluted and ridiculous, it resembles a soap opera more than a movie. None of the characters are likable and you feel nothing for any of the characters. Usually when a film features an anti-hero they are at least charming, relatable, or appealing in some way. Instead, every character in this movie is comically dull and inhuman. You build 0 emotional connection with the movie. This is branded as a comedy but every gag is just awkward and misplaced to the point where you have no clue where you're supposed to laugh. Rosamund Pike is the only redeeming quality even given her cringe lines. Just awful. So unbelievably contrived.
Samurai Chanpurû: Onkochishin (2004)
Skippable
Like the other review mentions, this is a flashback episode in which every single episode in the series so far is recapped with dull commentary and trivial details. Which is strange because there hasn't even been that many episodes at this point in the show. Regardless, it is probably the worst episode in the series.
You can safely skip this episode as it really adds nothing to the ongoing plot nor does it feature anything noteworthy or remotely entertaining.
Win Win (2011)
Win Win
The kid's acting gets in the way at times but Giamatti delivers big in, I think, one of his more underrated roles. The film is candid and never mistakes its direction. Effective pre-Spotlight work by McCarthy.
Platoon (1986)
Platoon
Real, gritty and well-captured picture of the Vietnam War in all its entirety. Any war movies relies heavily on the sincerity of its soldiers, and in this case the cast is compelling, embodying the humanity and damage that was evident in so many affected by the terrible war.
Ordinary People (1980)
Ordinary People
In a film that has all the makings of the standard coming-of-age drama, Ordinary People tackles sensitive subject matter with poise and a rewarding sentiment.
Mainly following the life of Conrad Jarrett (a powerTimothy Hutton), we watch a a regular, suburban family adjust to normal life after the death of one of their children. We are introduced to a seemingly normal, functioning family with Conrad at its focal point, from the audience's view at least. He engages in normal teenage activities: he rides to school in the backseat of his rowdy friends car, attends swim practice, and goes home to eat dinner with his pristine mother (Mary Tyler Moore) and his soft-spoken father (Donald Sutherland). All seems right on the surface but the film's uneasy tone never wavers as the frailties of the family slowly begins to unfold.
The film moves at a somewhat leisurely pace but it is never tiresome. In fact is effortless and allows each character to reveal their intricacies without bombarding the viewer.
The film deals with tragedy and suicide with care, and does not dwell on melodramatic expose. Each character's insecurity is hinted at but it is never too explicit where the audience need not discover it for themselves. Redford allows the viewer to empathize with each character by their own notion and presents the events in a way that shows without telling.
Much of these emotions and complexities are drawn out by a family psychologist Dr. Berger (Judd Hirsch) who operates with a calmness and assurance that couples well with Hutton's performance. Hirsch does a marvelous job here as the seasoned doctor who meets with Conrad and evokes his true emotions about his brother's death not by textbook questions but by establishment of trust and transparency. Hirsch and Hutton work well here and the dialogue is natural and effortless, reminds me of a young Matt Damon and Robin Williams conversing in a similar setting in Good Will Hunting.
Another couple that work well together with matching acting prowess is Tyler Moore and Sutherland. Playing the dichotomous couple who battle between acceptance and catharsis in the face of the tragedy, both actors nail their roles as the conscientious mother who struggles to create an intimacy with her son, and the quiet, agreeable father who attempts to find a common ground between the two polarized members of his family, respectively. Tyler Moore is unforgiving and tragic in her own sense as later scenes in the movie reveal but the film never leans in her favor. Alvin Sargent and Nancy Dowd, who wrote the screenplay, never neglect to give each character their own light and allows each character to operate effectively in separate scenes.
However, the best scenes in the movie I think involve the supporting characters. the most revealing instances are between Conrad and his two female interests. It's here we are able to connect with Conrad and get a real feel for his pain. One scene has Conrad meeting with his friend from the psychiatric hospital Karen (Dinah Manoff) and they share the details of their life after their encounter. We can see Conrad's struggle discern his own condition in comparison to Karen's. We can see for ourselves the insincerity of his upbeat attitude and his attempt at normality. Director Robert Redford helps bring vibrancy to the film and we see a part of the story develop rather than unfold. It's at these moments we understand the struggle Conrad face's with his own emotional turmoil and we can see his only two connections with happiness left; although one character embodies happiness in the past, the other in the future.
At the beginning and end, a version of Pachelbel's Canon rings out; a beautiful, grand composition that works as a synecdoche. To dip into musical terms, Pachelbel utilizes counterpoint, or a feature of music where every section plays their own tune at different times, yet the entirety of the piece sounds in harmony. It's a nice testament to the film, where each roles resonates solo and fortissimo, anchored by the unwavering performances of the cast. Yet the true genius of the film does not just lie in the players, but by the sure-handed direction of Robert Redford in his extraordinary debut.
The Fisher King (1991)
The Fisher King
Slightly uneven but altogether wholesome, Terry Gilliam's scope and imagination manifests itself in his two leads with impressive care. The Fisher King does not hesitate to express its unique form and confidently hits every note it reaches. Wildly underrated movie and one of Williams' best works.
Lawrence of Arabia (1962)
Lawrence of Arabia
Long but entertaining throughout. Lawrence of Arabia is near the pinnacles of cinema and an artistic, political, and social masterpiece ahead of its time. One of the greatest performances by the late Peter O'Toole.
Ex Machina (2014)
Ex Machina
Haunting piece that explores that meditates on the ethics and possibilities of artificial intelligence in a smart screenplay garnished by some great performances, especially Vikander who handles the role with such control and skill that it leaves not only the characters but the audience as well second-guessing her intentions. More than "I, Robot" or "A.I.", the film sacrifices thrills and visuals for thick narrative and explores thought-provoking ideas that span existentialism and unintended consequences. The characters are completely polarizing and mysterious and Garland does a wonderful job orchestrating their roles.
Moonstruck (1987)
Moonstruck
I'm not usually a Cage fan or a Cher fan too for that matter, but something about the lighthearted, humorous attitude about this film changed my mind about both. With a real witty script and a spot on cast, it's a rom-com that will definitely stand the test of time for years to come.
The Bridge on the River Kwai (1957)
The Bridge on the River Kwai
A compelling work engulfed with human nature embellished by a grand design, it's a monumental testament to the condition of war and nationalism. The still frame shots of a cascade of bats darkening the Indian sky, disturbed by the brutality of soldiers. And that's how you feel when it all ends. Lean captures that unabashed pride that inhabits every countrymen, and, in a close up shot on the brilliant Alex Guiness, he captures that horrific gaze, the kind a soldier possesses before uttering "What have I done?". Tragic, suspenseful, and altogether beautifully done, Bridge On The River Kwai feels essential, significant in every way.