ccscd212 Reviews

Orbis Pictus (1997)

Excellent and unique

[9/10 · 21 March 2009]

I went into the film not knowing much about it at all, and by the end I was quite exhilarated. Sulik and his writers give us story-telling at its very finest. The film plays like a fairy-tale, and like most fairy tales worth their salt, there's a layer of evil lurking below the innocent surface.

I have to disagree with the other user comment thus far (JM Laprise), not about the quality of the film, but more so its nature: this is certainly no feel-good film. Quite the contrary, I found it depressing. The concept of mixing reality with fantasy, and not vice versa, is rather ingenious, and it's executed very well here. I heartily recommend the film.

Levoton veri (1946)

In many ways a typical Tulio melodrama

[6/10 · 21 July 2008]

Certainly not the best Tulio Film, here he teams up again with writer Nisse Hirn and actress Regina Linnanheimo. The set-up is fairly conventional melodrama. Two sisters both fall for a handsome doctor and when the doctor marries the older sister, the younger one, heart-broken, leaves the country. After some dramatic twists, the younger sister returns home and the main characters find themselves in an agonizing love triangle.

The dialog, even by Tulio/Hirn standards, is laughably stiff and pompous for the first 20-30 minutes. After that it settles into something a bit less over-the-top, but don't get it confused, this is melodrama through and through. And as the drama tightens, Linnanheimo's acting chops are truly put to the test; and viewers do well to remind themselves that this is melodrama, not real life.

Tulio's visual touch is here, with the accustomed close-ups and inventive editing. What makes this truly interesting, however, is the moral ambiguity. For 1946, there are a number of questionable elements here that would have had Hollywood censors reaching for their heart medicine in utter shock.

Lunastus (1997)

Competent, but wholly unremarkable

[5/10 · 27 March 2008]

The basic idea is workable: a priest/teacher caught between two warring side: his brother is a "white", while his whole township is "red". Kari Heiskanen is quite good as the Christ-like priest, though it often seems as if he stays in one (sullen) mode throughout the whole film. The townspeople (and the reds and the whites) are portrayed with little depth. There's a madman, a drunk, etc-- each not much more than a plot device. Heiskanen's priest's brother is hardly a more rounded character: quite ruthless with one redeeming moment. The film's surprise comes as a young red doesn't act like you would expect him to, to him the priest stands for exactly what's wrong with the system, despite his humane qualities.

Technically, the film is adequate with an authentic enough feel. Still, very little in the picture is remarkable. Some interesting ideas, sure, but they aren't developed in a way that would hoist the film above the countless similar movies about war in the world.

The Famous Sword Bijomaru (1945)

A straightforward story handled with the skill of a master

[6/10 · 2 February 2008]

The Famous Sword Bijomaru is not one of Mizoguchi's famed productions, and as Kaneto Shindo says in a related interview: film makers do not "live on love alone," alluding to the fact that the film was made for monetary reasons. Indeed, it is not the most complex story, as the main character, an apprentice sword-maker, struggles with faith in his craft and his love for the daughter of his guardian. Despite the familiar aspects of the story, the film is directed with the flair of a master, finely bringing out the symbolism of sword-making with some atmospheric cinematography to boot. A nice little film that is definitely worth seeking out.

How Much Wood Would a Woodchuck Chuck... (1976 TV Movie)

Herzog all the way

[6/10 · 1 June 2007]

Obviously not Herzog's best, but still definitely worth watching. The theme is classic Herzog-- I doubt that any other filmmaker would have considered cattle auctioneering world championships worth their celluloid. At 44 minutes, this isn't really a major work, but as usual Herzog is able to communicate to his audience what it was that drew him to the unique subject. Like Herzog says, there's something "fascinating and frightening" about what these auctioneers do; it's almost like music or "art" but what purpose does it serve? Cattle gets sold as quickly as humanly possible. If the subject doesn't drive you away, give this a try. Technically, it's quite basic, but the Herzog magic is there.

Gambler (2006)

Interesting, but...

[5/10 · 17 September 2006]

As an admirer of Winding Refn's work, I didn't hesitate when I got a chance to see this movie. That said, I didn't go in expecting a masterpiece and now I can say; neither should you. The film focuses mostly on Winding Refn's financial woes and the stress it imposes on the young Winding Refn family. Expect a lot of numbers being tossed about and close ups of effervescent tablets dissolving into water, as if to remind you that the clearly stressed out Winding Refn is, well, stressed out. At only 80 minutes the film still feels somewhat lengthy. However, fans don't want to miss the scenes with Kusse Kurt and the relatively few scenes filmed on set. This is more the stuff of a DVD's extra material than a stand-alone film, yet fans might want to give it a shot.

The Bothersome Man (2006)

Poor, not worth your time

[4/10 · 16 September 2006]

Listen to William DeVaughn's "Be Thankful For What You Got"-- in 5 minutes or so it gets its point across a whole lot better than this unnecessary waste of film. A guy commits suicide, ends up in a sterile, emotionless environment. He's not satisfied in that world either, so he ends up in a place that is probably worse still. Moral of the story: don't commit suicide, despite everything, our world is still pretty okay. The premise is interesting, but that's just about all the film's got going for it. The acting is competent, but then again, I doubt it's too difficult to portray emotionally hollow people (all but the main lead + another character). Decent cinematography, though. It's a bit like Matrix for art-house audiences-- not recommended.

The Bow (2005)

The arrow misses its mark

[4/10 · 26 July 2006]

Having seen almost all of Kim Ki-Duk's movies, I will say that this one is easily among his weakest. What goes wrong then? I'll start with the good. The old man's acting is pretty fine-- the girl's acting is a bit more capricious, but usually not annoyingly so. The cinematography is passable, but nothing fancy. The part where the old man plays his bow/ violin on the roof of the boat, however, belongs in a tourism video promoting the wonders of South-Korea, not a Kim Ki-Duk film. The music is cheesy. It's never a good decision to have an actor play a rugged instrument on screen and simultaneously play polished, incredibly melodramatic music on the sound track.

With the technicalities out of the way, let's focus on the story. As far as Kim Ki-Duk goes, the main idea could've been workable. Now it just takes some elements from 'The Isle,' adds some painfully obvious and overdone symbolism plus some magical realism at the end that makes me think that Kim Ki-Duk is having a laugh at my expense. The bow as a symbol of love-- acceptable, sure. It shoots arrows, too = love hurts. It can be used to play the most touching music = love is beautiful. You can use it to predict future events = love is mysterious?? Not to mention, the thing with the rooster and the hen. The type of symbolism the film contains I might expect from a romantic novelist, not a renowned director. The ending is a story in itself, but I honestly felt embarrassed for Kim Ki-Duk while I watched it. Should it have ended with the old man diving in the sea, I would've probably viewed the film in a much more positive light.

Sure there are some classic Kim Ki-Duk moments like the scene with the old man and the rope and even the wedding, but overall this is very sub-par. It's still probably worth watching-- one reason being: to see what kind of sap a talented artist is able to produce apparently without flinching an eye.

Heart of Glass (1976)

Groundbreaking, but not without problems.

[7/10 · 22 July 2006]

Normally I don't like to know much about a film before viewing it. I feel it allows me to watch a movie with a more open mind and makes the watching experience thus more enjoyable. However, in the case of Heart of Glass, not knowing that most of the cast is hypnotized and that Hias's prophecies are the actual prophecies of a Bavarian peasant would probably lead me to deem the film pretentious and confusing. That said, knowing these facts, the film is quite remarkable. I wouldn't read to much into the allegory part of it-- which is to say that I wouldn't say it's an allegory of something specific in history. I'd say it's more allegoric of human life in general. Senselessly pursuing something unattainable, understanding the value of friendship only when it's too late, wrestling foes that only we can see, foolishly rowing into unknown waters, etc. A fine film, not Herzog's best, but an intriguing one indeed.

Pusher III (2005)

A great finish to the trilogy

[8/10 · 2 April 2006]

First off, I have really no idea why the film has received so many 1 star ratings here-- Buric's lead role alone is worth at least five times that.

Now with that out of the way... The film is pretty much excellent. I can't see anyone who's liked the first two being disappointed with this one. The dialogue, the characters, the situations-- Winding Refn is becoming, or should I say has become, a true master filmmaker. I don't have much to say about the story, except that it has more in common with the first Pusher than the second one as it all happens in less than 24 hours. Furthermore, Milo's situation is somewhat like Frank's in the first one-- which is obviously quite ironic.

A few minor, almost intangible details prevent Pusher 3 from reaching perfect status, but it really is a tour de force of film-making. A couple of scenes are really extreme, but hopefully they won't keep anyone from seeing this first-rate film.

Birdcage Inn (1998)

A naive film that isn't saved by its seeming artiness

[4/10 · 7 February 2006]

I must start by saying that I'm not the biggest fan of Kim Ki-Duk, I've seen a number of his films and while he hits the mark more often than not, his films tend to have some pretentious elements.

The story has been told a million times, and with much more flair. There are two girls, one of them despises the other, one of them longs for the other's friendship. Eventually, the first one realizes what a jerk she's been and so they become the best of friends. The end.

The whole prostitution angle doesn't really give the story much depth: wow, there's a pimp involved. Wow, everyone thinks they can exploit a prostitute. And the father's comment to the prostitute in the jail cell? Prostitutes aren't the only ones who whore themselves, huh? DEEP. The worst part is when the "decent girl" steps in for the hooker. What does this prove? That she indeed considers the other girl her equal? Hardly the best way to prove a point.

The rape scene(s) and some other parts might be viewed as disturbing. What I don't see is what they add to the film in this magnitude-- it's pretty much accomplished by this point that prostitutes don't lead the easiest lives.

Some nice subtle touches, decent acting and a couple of pretty pictures. Otherwise utterly forgettable and full of clichés.

Going to Kansas City (1998)

Ehh

[3/10 · 18 December 2004]

Wow, this wasn't good. The script is pretty much forgettable with some painfully ridiculous moments. Not to mention the dialog. In fact, this is the most cliché "American" film I've ever seen coming from a European director. I just don't understand why the director would want to make a film like this. American farm life, gun laws, the type of xenophobia the film deals with - not issues that a Finnish director should be concerned with, in my opinion. The universal motives are there, but don't stand a chance to salvage this mess of a script. Thanks to some fine acting by Ironside and a select few others, it's not a total waste of time. Almost, though. I'm not ready to write off the director based on this, but I surely won't be standing in line when his next film premiers.

Dealer (I) (2004)

Promising

[7/10 · 21 September 2004]

I'm not terribly familiar with contemporary Hungarian cinema, but from what I gather Dealer appears to be the work of one of its most promising figures. Cinematography, rhythm (to some extent), nuances, symbolism; Fliegauf seems to have a grasp of all of these. Dealer isn't a masterpiece in my mind, though.

The acting is far from impeccable at parts. For example, when the dealer's female friend is talking to her boyfriend on the phone, you don't even get the impression that someone else is on the other line. You sense that the actor is more concerned with her English than playing her part. And even though the dealer's emasculate voice reflects a person not much less fragile than those he provides drugs to, I'm still not sure if the actor possesses all the brooding characteristics required for the role. The parts with his father and supposed child work to a tee, however.

As for the film being too long or too slow, I disagree. Still, a few more rhythmic change-ups would've been welcome. The dialogue reminded me a bit of Kaurismäki with its subtle humor and focus on only what's essential. The Tarkovski comparisons aren't far-fetched, either; with the ending striking up images of Solaris. Another Tarkovski-like trait the director has is his willingness to let things take their time. These precious moments when "nothing happens" allow the viewer to reflect on what he's seen and what's yet to come. The ambiance, the colors, the streets of the city the dealer travels by bike, and the way the director explores his theme, all of these assure that Dealer will stay with me for a while. Extra points for the song that closes the film.

D'autres mondes (2004)

Decent yet not quite perfect

[6/10 · 21 September 2004]

French director Kounen tackles a subject which should interest most everyone to some degree - be it shamanism or hallucinogens. Kounen's travels along the Amazon lead him to a tribe with century-long experiences of sacred plants and a "parallel universe" reached through the use of said herbs. Documenting the rituals of the tribe, his own encounters with the plants and the opinions of various experts from around the globe, the director seems to aim to unravel some of the myths of shamanism and everything related to it. He succeeds, but not completely. A part of the problem is that one cannot (at least Kounen isn't able to) begin to describe an alternate universe by producing surreal images on the silver screen or claiming things such as Kounen hadn't understood that he never left childhood prior to participating in the shaman's sessions. Perhaps the only way to truly learn about shamanism would be to have a shaman among movie audiences and instead of serving pop-corn, you could get yourself a nice big glass of Amazon's finest elixir. Nice effort though.