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  • 20 Jul

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    Review: Dark Knight Rises

    96

    Director: Christopher Nolan
    Screenplay: Jonathan Nolan, Christopher Nolan
    Cast: Christian Bale, Anne Hathaway, Tom Hardy, Joseph-Gordon Levitt
    Runtime: 164 min.
    MPAA: PG-13

    “Theatricality and deception can be powerful agents.”

    With those words of wisdom began not only the journey of the Batman, but Christopher Nolan’s remarkably meticulous and grandiose tale of the denizens of Gotham City. For all of the ferocity and determination of Bruce Wayne, and the pomp and circumstance of the Joker, and the dedication of James Gordon, and the loyalty of Alfred Pennyworth, it is the humanism of Gotham that drives the entirety of the series.

    And it is Dark Knight Rises that offers a catharsis for those people, and for those that would test their mettle.

    » Read the rest of the entry..

  • 11 Jul

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    Shinsedai Cinema Festival: Ringing In Their Ears

    0

    Title: Ringing In Their Ears
    Director: Yu Irie
    Starring: Fumi Nikaido, Kurumi Morishita, Uji Kiyotaka, Yui Miura, Tatsuya Sakamoto, Mikihito Tsurugi, Toru Nomaguchi, Keisuke Horibe
    Running time: 89 min.

    (3.5/5)

     

    There are countless clichés and adages that revolve around music – ‘the power of rock ‘n’ roll,’ ‘music saves lives,’ ‘I listened to them before it was cool,’ and so on and so forth. While these statements are likely to cause you to roll your eyes, it must be said that there is at least a smidgen of truth in there. It seems that there is nary a person that does not have some connection with music, be it as a distraction, a muse, requisite background noise, or a form of hope, and all of this distilled through ear buds.

    Ringing In Their Ears is a film that offers a glimpse into the relationship between music and not only those who listen to it, but those who create it, as well.

    » Read the rest of the entry..

  • 01 Jul

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    Review: Magic Mike

    12

    Director: Steven Soderbergh
    Screenplay: Reid Carolin
    Starring: Channing Tatum, Alex Pettyfer, Matthew McConaughey, Cody Horn
    Runtime: 110 min.

    One of the more ubiquitous critiques utilized in analyzing a performance is that the actor was merely ‘playing himself.’ This criticism – or insult, really – has been levied at actors of all shapes and sizes, ranging from Michael Cera and Jesse Eisenberg to Johnny Depp and Brad Pitt. Whether this is a matter of a typecasting, talent, or some other intangible is oftentimes irrelevant, as what impacts box office numbers (that is, wanting to see a character that one has seen and loved before) does not often jibe with what the critic hopes to see (an actor evolving before our very eyes). How this is differentiated from the praise associated with an actor for performing ably in ‘the role he was born to play’ is something of a non sequitur.

    At the heart of these semantics and ramblings is Magic Mike. Or, rather, Channing Tatum playing himself in the most literal sense of the term, to astonishing results.

    » Read the rest of the entry..

  • 08 Jun

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    Review: Prometheus

    47

    Director: Ridley Scott
    Screenplay: Jon Spaihts, Damon Lindelof
    Starring: Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba
    Runtime: 124 min.
    MPAA: R

    There exists a perception that religion and science are in a perpetual state of war. One cannot maintain faith in the scriptures of their respective dogma while acknowledging the strengths found in the Big Bang theory … at least, insofar as those that seek some sort of ubiquitous truth are concerned. To those that seek the answers to those questions that have been pondered for as long as history itself – where did we come from? why are we here? – it is essentially inconceivable (if not offensive) that there may not be a single truth, or that the truth may be in stark contrast to the beliefs that one holds dear. Questions, to some, are not meant to be open-ended. To others, considering such issues is a paramount aspect of life, as a mind is a precious thing to waste.

    The ability to appeal to the viewer’s philosophical foundations, in the most intrinsically beautiful sense of the bounds of the human mind, and subsequently challenge them is the defining characteristic of Prometheus.

    » Read the rest of the entry..

  • 25 Apr

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    Trailer: Lawless

    4

    John Hillcoat directed two of the most tragically beautiful films of the past decade, yet seems to be an almost anonymous name in even the most vibrant of film discussions. The Proposition may well have been the best film of the 2000s, speaking in generalities, and The Road, while flawed, was among the better films of 2009 – a fairly strong year for cinema. I believe Hillcoat’s eye for landscapes, understanding of human nature and interactions, and general editing skill plant him firmly in Terrence Malick territory … a blasphemous statement, to some, but a matter of fact for me.

    Lawless may well represent Hillcoat’s pseudo-breakout film, combining the name value of Shia LaBeouf and Gary Oldman (perhaps the best living actor) with the considerable talents of Tom Hardy, Guy Pearce, and Jessica Chastain. While a late-August release is often a kiss of death, it may be the perfect time for a film of its anticipated caliber to hit the big screen, free from the pull of the summer blockbusters. Or, maybe I’m deluding myself into hoping that there will be bigger and brighter things for a director that ‘gets me’ (a delusion unto itself).

    Without further ado, check-out the trailer, hot off the presses.

  • 25 Jan

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    Review: Norwegian Wood

    2

    Director: Anh Hung Tran
    Screenplay: Anh Hung Tran
    Producer: Shinji Ogawa
    Starring: Ken’ichi Matsuyama, Rinko Kikuchi, Kiko Mizuhara
    Runtime: 133 min.

    I find myself in an almost existential funk as a result of watching Norwegian Wood. It is almost as if the cast and crew sought to craft a film that would satisfy all of my aesthetic whims (through both my eyes and ears), while simultaneously grating against the very fabric of my analytical mind. In most reviews, I would save the following zinger for the end, hoping to glean a (hopefully genuine) smirk from each and every reader – that does not seem appropriate here, as the following ramblings will likely steer you away long before you reach my conclusions. That being said, there’s one rather simple term with which I may describe this film with startling accuracy:

    Beautiful disaster.

    » Read the rest of the entry..

  • 11 Jan

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    Canada’s Top 10: A Dangerous Method Review

    0
    A Dangerous Method

    [With Canada's Top 10 screening in a few major cities in Canada in the coming weeks, the time is ripe to re-visit some of the titles we've seen throughout the last year.]

    Cronenberg and psychoanalysis seem like a match made in heaven – few directors have probed the depths of the bizarre and cerebral as frequently or successfully as Cronenberg. While films like Videodrome and A History of Violence are generally known for their visceral brutality, such a view should not hold up beyond a perfunctory glance. Cronenberg’s films are quite dependent upon the neuroses and motivations of their characters, as well as the mindset of the viewer. Sure, there is quite a bit of shock value to be had … but the human mind and its hopes, wants, needs, and desires are consistently at the forefront of Cronenberg’s works.

    At face value, A Dangerous Method is the perfect storm of subject matter and director; and this, without even considering the wonderful casting.

    » Read the rest of the entry..

  • 26 Oct

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    Rank ‘Em: John Carpenter’s Films

    5

    With Halloween nearly upon us, it seems appropriate to delve into the filmography of one of the most well-known and acclaimed directors of the genre. Carpenter is, without question, a master of suspense. His utilization of music in crafting an ominous atmosphere is essentially unparalleled, and his ability to engross and unnerve the viewer with subtlety and craft is nothing short of transcendent. Hyperbole aside, I am not quite sure that there is another American director that has enthralled me as well or as much as Carpenter.

    In the interest of generating a great deal of discussion, I will provide a simple tiered list, from worst to best, to get the ball rolling. Without further ado…

    » Read the rest of the entry..

  • 17 Oct

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    Review: The Turin Horse

    8

    Director: Béla Tarr
    Screenplay: Béla Tarr, László Krasznahorkai
    Producer: Gábor Téni
    Starring: János Derzsi, Erika Bók, Mihály Kormos
    Runtime: 146 min.

    A disclaimer of sorts is necessary for this review.

    The Turin Horse is not a film for the casual moviegoer; cinemaphiles should not view the film with the company of a casual moviegoer, as said moviegoer is likely to obnoxiously grumble about “pretentiousness” and utilize “art house” as if it were a heinous insult; it should not be viewed by those with a proclivity for anxiety or depressive existentialism (unless they enjoy that sort of thing). The author and Row Three are not liable for any negative experiences that may befall those who choose to ignore the aforementioned criteria.

    » Read the rest of the entry..

  • 11 Oct

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    Review: Take Shelter

    11

    Director: Jeff Nichols
    Screenplay: Jeff Nichols
    Producer: Sophia Lin, Tyler Davidson
    Starring: Michael Shannon, Jessica Chastain, Tova Stewart, Shea Whigham
    Runtime: 120 min.
    MPAA: R

    Where is the line between fear and paranoia? Is the former objective, and the latter subjective? Is it a matter of perspective? Certainty or uncertainty? Or is the quest for the justification of either inane?

    » Read the rest of the entry..

  • 06 Oct

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    Review: A Dangerous Method

    3

    Director: David Cronenberg
    Screenplay: Christopher Hampton
    Producer: Jeremy Thomas
    Starring: Michael Fassbender, Keira Knightley, Viggo Mortensen, Vincent Cassel
    Runtime: 99 min.
    MPAA: R

    Cronenberg and psychoanalysis seem like a match made in heaven – few directors have probed the depths of the bizarre and cerebral as frequently or successfully as Cronenberg. While films like Videodrome and A History of Violence are generally known for their visceral brutality, such a view should not hold up beyond a perfunctory glance. Cronenberg’s films are quite dependent upon the neuroses and motivations of their characters, as well as the mindset of the viewer. Sure, there is quite a bit of shock value to be had … but the human mind and its hopes, wants, needs, and desires are consistently at the forefront of Cronenberg’s works.

    At face value, A Dangerous Method is the perfect storm of subject matter and director; and this, without even considering the wonderful casting.

    » Read the rest of the entry..

  • 21 Sep

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    Rank ‘Em: Steven Soderbergh’s Films

    15

    My interest in Steven Soderbergh is strongly rooted in his general lack of commonality within his oeuvre. With the notable exception of the Ocean’s series, no two films share an overwhelming vibe that screams “Soderbergh,” despite his fondness for working with certain actors … and that strikes me as an unusually rare quality. Werner Herzog’s films are distinguished by the protagonist battling personal demons. The majority of David Lynch’s films are defined (or undefined) by the surreal. Clint Eastwood is a paradigm of simplicity. Terrance Malick aims to characterize nature. Great directors all, yet all with a clearly defined comfort zone.

    To be fair, there is absolutely nothing wrong with a distinguishing characteristic. In fact, Herzog and Lynch are likely my favorite directors, and my least favorite of their works are those that stray too far from their respective wheelhouses. It is for this reason that I became intrigued with Soderbergh’s filmography – I have no natural biases created by a want for a specific theme or philosophy.

    Without further ado:
    » Read the rest of the entry..

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