*PARANORMAL ACTIVTY 3

The third (and what looks to be final) installment of the Paranormal Activity series was completely on point from beginning to end. It followed the patterns established in PA 1 and elaborated upon in PA 2, pulling all plot points together into a very cohesive and comprehensive whole. To see 3 without having seen 2 or 1 would be much less fulfilling, and reduce the film to a mildly scary 80 minutes full of trick effects and small scares. It's amazing to see the results the franchise has brought in from their Blair Witch-esque initial budget of $15,000 to the third, with a still-modest $5 million budget. Despite one of the worst viewing experiences I've ever had (midnight showing at a downtown theater), I really enjoyed this film and definitely plan on giving it a second viewing where I can better tune in to the subtleties of this well-crafted film.

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10/22/2011

*SUNDANCE 2011 #2: MAD BASTARDS

Pulling from stories told by the actors themselves, Brendan Fletcher weaves a bleak narrative of an estranged father trying to reconnect with his wife and son after a thirteen year absence. The film starts much different than the film ends, resembling a hypothetical Aussie version of 'Cops, and finishes as a matter of fact story about a struggling family. Not accustomed to thick Australian accents (with Aboriginal influences), the dialogue within Mad Bastards was difficult to understand at times, but luckily the plot structure was fairly familiar, making it easy to jump back in. Moreso, a large portion of the film wasn't communicated through words, but rather through seamless montages, articulated by a soundtrack as eclectic as the characters in the film. Juxtaposing imagery was often used to develop the plot, as well as Fletcher's fantastic use of silence and reaction - something I always appreciate and hardly see. Despite its basic plot and lack of real ingenuity, Mad Bastards proved to be an interesting film with many redeeming qualities, and an overall good message.

In attendance: O
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1/18/2011

*SUNDANCE 2011 #1: BENGALI DETECTIVE

This day-in-the-life documentary follows Rajesh in his personal life, as well as his pursuits as a private detective in Kolkata (Calcutta). Director Phillip Cox displays an unexpected humorous side throughout this film, in addition to a wealth of poignant emotions brought on by Rajesh's cases and personal life. Though not the focus of the film, Bengali Detective provides a decent fly-on-the-wall look into a small (poor and crowded) sector of Indian life. There are discussions within the film of maintaining Indian culture and warding off western influence, but because of the brevity, these segments warrant no real attention. The film struggles to find it's real purpose, going back and forth from subject to subject and place to place with little connection besides Rajesh's presence. Cox leaves us with little conclusion to the cases strung through the film and overall relays only a basic understanding of these people and the ties they have to each other. The cinematography was surprisingly impressive - especially the night photography - coming from a digital two camera system (the director running one, the cinematographer the other). An interesting and decent way to start the festival.

In attendance: O
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1/18/2011

NORDWAND (NORTH FACE), 2008

Nordwand, or the North Face, tracks two German climbers and their race to be the first team to summit the treacherous face of the Eiger Mountain in Switzerland. The film maintains strict adherence to historical events, and carefully documents the interaction between the rise of Nazi power and the media. The characters are brilliantly acted - each filling a niche within the film, and none grossly overshadowing the rest. Nuances of a love triangle are introduced, but never taken to the extent that would be over the top or detracting. The spoken German (and accompanying subtitles) doesn't detract at all, but only solidifies the authenticity of the film, in addition to quickening the pace of the high-tension scenes. The film was composed of amazing cinematography, and although it was jarring at first to recognize the relentless handheld camerawork, it easily blended into the on-the-mountain cinematography that dominates the film. Neither the cinematographer nor the director have a long lists of credits, but they certainly struck the nail on the head (or piton, as it were) with this film, and succeeded in making a sublime film exhibiting excitement, devotion, and the overwhelming desire to achieve something bigger than yourself. I couldn't ask for anything better in any film I'd want to make or watch.


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9/5/2010

SCOTT PILGRIM VS. THE WORLD, 2010

Though moderately to extremely childish, Scott Pilgrim vs. the World was an incredibly entertaining film. The film broke boundaries in different ways than I've yet seen in a feature film, and brought both pop culture and classic gaming past-times to the screen in very innovative ways. The film was humorous throughout, but generally maintained the teen form of over-the-top awkwardness that Michael Cera has come to epitomize. I wonder if he can play another role, but so does everyone else... The cast was full of fairly inconsistent characters (though the females, in contrast to the male roles, were fairly well acted), led by the female lead, Mary Elizabeth Winstead. Technically, Scott Pilgrim was a surprising blend of motion graphics, visual and special effects, and great cinematography, but coming from the cinematographer of the Matrix series, I wouldn't expect anything less. Edgar Wright, writer and director of both Hot Fuzz and Shaun of the Dead, also wrote and directed this, his first American film, bringing himself closer to forming an auteuristic style of film that so few directors ever achieve.

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9/2/2010

OH HEY THERE.

Look at that. I'm back. Instead of catching up for the past five month hiatus, I'm just going to start up again. Hopefully I can keep on it.

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9/2/2010

HIGH PLAINS DRIFTER, 1973

After having had only positive experiences with Eastwood films thus far, I decided to try out High Planes Drifter to see if the trend would continue. In this light, I worried only that this film, though technically and cinematically effective, would be a carbon copy of both Eastwood's previous and subsequent films. This venture proved to be both another point for Eastwood, and even more so, an original take on the revenge western. Strolling into town, Eastwood's character, known only as The Stranger, makes a quick impression on the townspeople, who are quick to pass judgement, but slow to act. Taking a much more mystical turn than any other westerns I've previously encountered, this film was surprisingly captivating and original. The ending ultimately brings much of the questions and mystery to some sort of resolution, but it also depends on what language you watch the film in. Eastwood directs, and surprisingly brings some much more questionable morals into the film - rape, murder, usurpation of power, etc., and lays a significantly more serious tone to High Planes Drifter. The technical quality of old westerns always leaves me a bit dissatisfied, but the story, the bravado, heroism, and overall gruffness creates a genre I find myself attracted to more and more. This is another of hopefully many Eastwood westerns that will make an appearance on The Tenfold Katsography.

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4/15/2010

TAU MING CHONG (WARLORDS), 2007

I haven't been able to find a substantial reason as to why the official release date was in 2007, but it's only now hitting theaters in the US. And only at independent theaters, too. With names like Jet Li, Andy Lau, and Takeshi Kaneshiro, this film sports some of the biggest names in Chinese cinema - I just don't understand the limited release. Regardless, the film appears to have the same big-budget perspecitve as Red Cliff, but manages to ground it in a much more solid story, and not just because it's loosely based on historical fact. The characters have real flaws, enacting believable dialogue, all framed within a traditional, beautiful, Chinese landscape. The flaws of these three blood-brothers, however, reached the point early on where there was nothing left to relate to, no one to side with when major conflicts arise, leaving a rift between the main characters and the viewers. After the continuous battle scenes, I feel like I understood the fatigue presented in the film, but the plot points were a bit jumbled and even confusing at times. This film fared far better than recent Chinese films, but still left a lot to be desired. Still waiting for that great Chinese epic.

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4/13/2010

THE OUTLAW JOSEY WALES, 1976

Clint Eastwood brings it home again! Portraying an ex-Confederate soldier on the run from corrupt Union officers, Eastwood cites the character Josey Wales as his own all-time favorite. Although the film started with a different director, Eastwood quickly stepped in to lead this film as another seminal piece in the Western canon. Showing imperfections on both sides of the war, even Wales sporting many of his own flaws, this film felt much more realistic than many of his other films. The Outlaw Josey Wales shows a wide spectrum of conflict within native-American culture, early settlers, and soldiers, and lends what I could see as an accurate view of the disquiet that existed in the early uninhabited US. Though Eastwood's characters always show a mixture of the same guttural bravado, the flaws he exhibits as Josey Wales, coupled with the film's conclusion, make this film distinct from the rest of his long list of westerns. I enjoyed this film, and have yet to be seriously disappointed with Eastwood's productions.

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4/12/2010

THX 1138, 1971

THX 1138 presents a mind-altering soundscape, unbelievably unique visuals, and an ultra-futuristic take on forbidden love. The cinematic era of the late 1960s to the mid-1970s continues to surprise me in almost every way - from revolutionary cinematography, to low-budget successes, outrageous stories, to phenomenal actors - and THX 1138 is no exception. The actors were perfect - perfect in portraying the overall feeling and ambiance of this film. Writer/director George Lucas shows examples of what were to become personal trademarks, and sound designer Walter Murch begins one of his first steps towards becoming the most well known and sought-after editor in the industry. A historic piece in bringing about the Hollywood we have today, and a fantastic look into George Lucas' semi-humble beginnings.

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4/9/2010