No Country for Old Men

A film that is difficult to place into just one particular genre, 2007s No Country for Old Men saw the Coen brothers win their first and perhaps long overdue Oscars for Best Picture and Best Director. In a year for which its main rival was the equally nihilistic and violent There Will Be Blood the Coen’s film won a total of four Oscars and three BAFTAS. Set in the West Texas desert in the early 1980s the film is based on the novel of the same name by Cormac McCarthy and tells the story of a man (Josh Brolin) who chances upon the aftermath of a drug deal gone wrong and finds $2 million just waiting to be taken. He is chased by the vicious and merciless hit man Anton Chigurh (Javier Bardem) who is hired to get the money back. Both are in turn hunted down by local Sheriff Ed Bell (Tommy Lee Jones) who despite in being way over his head maintains a calm exterior in the face of the task in front of him. No Country for Old Men is the sort of film that I’d be happy to watch every five years or so but wouldn’t want to see it any more often than that. It is a supremely made movie which features some stunning performances and an interesting story but I found myself drifting more and more as it went on.

Platoon

Platoon takes us through a tour of the Vietnam War through the eyes of the fresh and idealistic young volunteer Chris Taylor (Charlie Sheen). We follow Taylor from his first day in Nam to his final battle accompanied by voice-over which expresses his thoughts, worries and ideas. The film appears to accurately portray the day-to-day life of a soldier in the jungle and promotes the views of the monotonous nature of infantry warfare which is punctuated by moments of extreme violence. Platoon creates an environment for its cast whereby the characters fear not only the Vietcong and jungle but also each other as tensions and rivalries run high and suspicion spreads like wildfire. Personally I think it is one of the finest war movies ever made and it went on to win four Oscars including Best Director and Best Picture at the 59th Academy Awards.  

A History of Violence

I first saw A History of Violence at the cinema in 2005. This wasn’t because it was the latest David Cronenberg film but was rather because the nineteen year old me thought it would be cool to see the new film “with that Lord of the Rings guy in it”. I’ve changed substantially in the last seven years and have since grown to love film but for me what was great about the film on my first naive viewing is still great but unfortunately what is poor, remains so.  The film was released to universal critical acclaim but for me at least it is nowhere close to Cronenberg’s best work.

Tom Stall (That guy off of The Lord of the Rings) is a mild mannered diner owner in a small town in Indiana. He has close ties to the community and a loving family which includes his wife (Maria Bello), son (Ashton Holmes) and young daughter (Heidi Hayes). One day two crooks come to town and try to rob Tom’s diner but after fending them off in an act of self defence Tom gains a little local celebrity. This attracts the attentions of East Coast gangster Carl Fogarty (Ed Harri) who seems convinced that quiet, shy Tom is a former gangster called Joey.

The Cure

An improvement on the comedy of Easy Street but a film with much more of a slapstick nature, The Cure finds Charlie Chaplin playing an inebriate who checks into a health spa in order to get sober. His huge suitcase though is full to bursting with bottles of liquor which find their way into the health spa’s well with disastrous consequences. Along the way Chaplin befriends Edna Purviance after saving her from the clutches of the wicked Eric Campbell.    

This is a short that is packed full of gags, some of which are a little repetitive but many hit the nail on the head. It also features a larger role for Chaplin regular John Rand who appears in most of Chaplin’s Mutual Films but usually just has a walk on role. In The Cure he has almost as much screen time as Campbell and Purviance but doesn’t make as much of an impact on the film as Chaplin’s two main collaborators. The story is tight but not wide reaching and is a lot more basic than many of the films from the same period, but what it lacks in story it makes up for with laughs. Chaplin’s dizziness following his turn in the revolving door also gave him the same symptoms as he showed nearly twenty years later in Modern Times when he ‘took’ cocaine. His walk and spinning was almost identical and equally amusing.

The Intouchables

Last year’s French award baiting, box office smash hit, The Intouchables known in the UK as Untouchable finally gets a release in the UK, a full year later than in its home country and my was it worth the wait. The film broke box office records in France, becoming the 2^nd highest grossing French film of all time after just nine weeks at the box office and has gone on to gross  €277 million worldwide from a budget of just €9.5 million. I’d heard very good things from the countries that had been lucky enough to get the film within a year of its release but I wasn’t expecting to enjoy the film quite as much as I did. It’s been a very good month for film with the likes of Anna Karenina, Looper and then Holy Motors all edging into my current 2012 Top 10 list but I think at the moment Untouchable is beating them all with it’s surprisingly frank and extremely funny portrayal of a young French-Senegalese man’s (Omar Sy) struggle in taking on the role of full time carer for a paralysed millionaire (François Cluzet).

Casablanca

Although relatively popular and well received when released in the summer of 1942 due in part to events in North Africa at the time, Casablanca has since risen to be one of the most critically acclaimed and well though of films in history. It currently ranks number 23 on the IMDb’s Top 250, number 3 on the AFI’s 100 Movies and is one of Hollywood’s most loved romantic melodramas. The film is also one of the most quoted films of all time too with quotes such as “We’ll always have Paris”, “Here’s looking at you, kid” and the often misquoted “Play it Sam. Play As Time Goes By” being well known to people who have never even seen the film. Until today I was one of those people and like hundreds of other classic films it was on my list of must sees for a long time. Now it’s off that list and I’m glad of it. Although I wouldn’t personally put it towards the top of my favourite films of all time it is certainly a wonderfully taught and romantic drama which successfully mixes the geo-political problems of the age with a fine romantic story which remains eternal to this day.

The plot is set in the Moroccan city of Casablanca on the route of a great refugee trail from Nazi occupied Europe towards America. Rick Blaine (Humphrey Bogart) is a cynical and politically non aligned bar owner based in Casablanca whose neutrality is put to the test when an old flame unexpectedly appears back in his life.

Holy Motors

Holy Motors must be the strangest, maddest and most bizarre film I’ve seen since at least Love Exposure and possibly ever. In a statement about the nature of both acting and the digitalisation of the world, Leos Carax’s film stars Denis Lavant as a man who travels through Paris in a white limousine that is driven by Edith Scob. Along the way he stops for various ‘appointments’ for which he adopts an entirely different character complete with makeup, mannerisms and speech. Throughout the course of the day he becomes a beggar woman, motion capture artist, assassin, disappointed father plus many more.

The film’s message or statement is open for interpretation and after telling my girlfriend what I though I asked her the same, to which she replied “I thought it was about weird stuff”. The film is enjoyable however you view it and whether or not you read into any hidden messages or not. The themes that I personally believe the film is tackling may be totally different to the person next to me but it doesn’t matter. Holy Motors is a thrilling, darkly comic and bonkers film that is worth tracking down.

Easy Street

Charlie Chaplin as his Tramp character is asleep outside a Mission, close to the danger filled and lawless Easy Street. After being partially reformed by the Mission where he meets a beautiful young woman (Edna Purviance), the Tramp decides to join the Police and is immediately sent out on the beat to Easy Street, a road from where Police return battered and bruised. Through luck and wit the new Policeman tries to reform the street and return it to the local residents.

Comedy wise this is probably the most disappointing of Chaplin’s Mutual Films that I’ve seen so far. In the entire film I only laughed out loud once and generally there were very few funny moments anywhere. What the film does contain though is another tender story about overcoming the odds, hard work, temperance and love which is something that Chaplin was becoming the master of at this stage of his career.

Memento

Leonard Shelby (Guy Pearce) is a man who suffers from anterograde amnesia from a knock to the head on the same night that his wife was killed. The affliction means that although he can remember things from before that night, he is unable to store any new information for more than just a couple of minutes. His lack of short term memory causes huge problems for Leonard, especially as he is in the middle of a man hunt to track down his wife’s killer. In his pursuit Leonard is aided or hindered (he’s not quite sure) by a man named Teddy (Joe Pantoliano) and a woman called Natalie (Carri-Anne Moss). All Leonard has to rely on are photos with notes written by himself and tattoos drawn all over his body which point to clues and reminders.

I shouldn’t be surprised that Memento is completely mad, difficult to follow and ingenious all at once as Director Christopher Nolan has since followed it up with the likes of Inception as well as his multi-billion dollar Dark Knight franchise. As twisted and confusing as Inception was though it has nothing on Memento which is presented in two separate but ultimately converging narratives. The first is filmed in black and white and is presented in a traditional linear way with scene following scene until the finale. The second and certainly more unique narrative strand is in colour and opens with the film’s finale before working its way back to the opening. The result is an incredibly complex and often frustrating plot which can leave you with more questions than answers.

Forgetting Sarah Marshall

Produced by go to comedy guy Judd Apatow and written by lead actor Jason Segel, Forgetting Sarah Marshall is a comedy that I was never in much of a rush to see. I vaguely remember it being around in 2008 but it didn’t entice me to the cinema. I’ve since become more familiar with Segel’s films and when someone at work offered to lend me the DVD I thought why not? I’m glad I did borrow it as it’s a remarkable romantic comedy that completely surprised me with its extremely funny script, well drawn characters and endearing storyline.  

Peter Bretter (Jason Segel) is a fairly successful TV Composer who is in a five year relationship with the actress Sarah Marshall (Kristen Bell). One day and almost out of the blue Sarah tells Peter that she is ending their relationship and leaves him. Depressed and heartbroken Peter decides to go away for a few days and heads to Hawaii where, yup, you’ve guessed it, Sarah is also staying with her new rock star boyfriend Aldous Snow (Russell Brand). Feeling even more depressed than he was back in L.A, Peter attempts to at least try and forget Sarah and is helped by the hotel staff which includes the attractive concierge Rachel (Mila Kunis).